# 08 - MAY / JUNE / JULY 2018
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Above left, centre and right: Model: Amy / Mayme Mouse https://www.instagram.com/mayme_mouse/
photos by Manic Mosh, make-up by Maria https://www.instagram.com/paintedbymaria/
photos by Manic Mosh, make-up by Maria https://www.instagram.com/paintedbymaria/
SIGNIFICANT POINT – EP 2018 “Attacker”
label: Inferno records
songs: Attacker / Danger Zone
web: https://www.facebook.com/Significant-Point-257488107708532/
Japanese 4-piece, engaging some all out mid 80's Heavy Metal / Speed. The band goes full throttle from the word 'go' with the fast Headbanger / Euro-SpeedMetaler “Attacker” sounding like a mix of Accept's “Fast As A Shark” and Savage Grace's “Bound To Be Free” dressed with a raspy, up-tone roar and some great guitar duelling. The moderately fast / upbeat semi Headbanger “Danger Zone” has the mid 80's European influenced U.S. Metal / Speed thing high up with a Hallow's Eve tinged lead riff and this 'primitive' old-school feel and sound all over it. Essential old-school Metal slab well worth adding to your collection. Great.
Paul van der Burght
label: Inferno records
songs: Attacker / Danger Zone
web: https://www.facebook.com/Significant-Point-257488107708532/
Japanese 4-piece, engaging some all out mid 80's Heavy Metal / Speed. The band goes full throttle from the word 'go' with the fast Headbanger / Euro-SpeedMetaler “Attacker” sounding like a mix of Accept's “Fast As A Shark” and Savage Grace's “Bound To Be Free” dressed with a raspy, up-tone roar and some great guitar duelling. The moderately fast / upbeat semi Headbanger “Danger Zone” has the mid 80's European influenced U.S. Metal / Speed thing high up with a Hallow's Eve tinged lead riff and this 'primitive' old-school feel and sound all over it. Essential old-school Metal slab well worth adding to your collection. Great.
Paul van der Burght
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PERPETRATÖR - 2018 “Altered Beast”
label: Caverna Abismal records
songs: Altar Of The Skull / Extreme Barbarity / The Doors Of Perception / Fires Of Sacrifice / Lethal Manhunt / A Fleeting Passage Through Hell / Terminal Possession / Jungle War / Let Sleeping Dog Lie / HellThrasher / Black Sacristy //
web: https://www.facebook.com/perpetratorthrash/
Portugese act addressing to 90's style ThrashMetal with a traditional root a la Destruction, Death Angel and Exodus with the occasional turn towards the Crossover thing, as witnessed on “Altar Of The Skull” and “Jungle War” which also count as the faster moments on the disc, along with the hyper-speed riffed, Aura Noir esque “Terminal Possession”. This thing comes with all the Thrash trimmings, including razor-sharp riffage, snappy, talk-type vocals, intense drummage and a fist in the face production. In true, West Coast Thrash tradition, songs alternate fast passages with slower, rhythmic sections, highlighted on the Testament esque tracks “Let Sleeping Dog Lie” and “The Doors Of Perception” whilst the Exodus source is pushed forward on “Extreme Barbarity” with double the speed! The band takes a turn towards the classic SpeedMetal sound on closing tune, “Black Sacristy” (by Pontius Prophet / John Cyriis) with matching guest vocals of Flavio Lino. “Altered Beast” simply is one complete and very convincing Thrash Metal outing that ticks all the boxes. Strong!
Paul van der Burght
label: Caverna Abismal records
songs: Altar Of The Skull / Extreme Barbarity / The Doors Of Perception / Fires Of Sacrifice / Lethal Manhunt / A Fleeting Passage Through Hell / Terminal Possession / Jungle War / Let Sleeping Dog Lie / HellThrasher / Black Sacristy //
web: https://www.facebook.com/perpetratorthrash/
Portugese act addressing to 90's style ThrashMetal with a traditional root a la Destruction, Death Angel and Exodus with the occasional turn towards the Crossover thing, as witnessed on “Altar Of The Skull” and “Jungle War” which also count as the faster moments on the disc, along with the hyper-speed riffed, Aura Noir esque “Terminal Possession”. This thing comes with all the Thrash trimmings, including razor-sharp riffage, snappy, talk-type vocals, intense drummage and a fist in the face production. In true, West Coast Thrash tradition, songs alternate fast passages with slower, rhythmic sections, highlighted on the Testament esque tracks “Let Sleeping Dog Lie” and “The Doors Of Perception” whilst the Exodus source is pushed forward on “Extreme Barbarity” with double the speed! The band takes a turn towards the classic SpeedMetal sound on closing tune, “Black Sacristy” (by Pontius Prophet / John Cyriis) with matching guest vocals of Flavio Lino. “Altered Beast” simply is one complete and very convincing Thrash Metal outing that ticks all the boxes. Strong!
Paul van der Burght
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HOODED PRIEST – 2017 “The Hour Be None”
label: I Hate records
songs: Dolen – Exiting The Real / Call For The Hearse / These Skies Must Break / Herod Again / Locust Reaper / Mother Of Plagues //
web: https://www.facebook.com/Hooded-Priest-296364420712/ http://www.hoodedpriest.org
Dutch Doomsters employing a sark and cold sphered interpretation of the genre that is given value by deep, grainy sounding guitars and those distinctive, narrative Doom vocals that move in the (upper) mid-range with fluctuations. Songs vary from a slow-motion pace on to up-tempo in the shape of 'accelerations' as evidenced on “These Skies Must Break” and “Locust Reaper”. There's the occasional shade of Candlemass, phased with hints of Reverend Bizarre (down the slug paced “Call For The Hearse”) and Black Sabbath (on the catchy, slow-fast alternating “Locust Reaper”. Although the vocals ar quite unique and characteristic, there is a certain click with Danzig, not so much in tone but more in the style of singing. Songs are long but manage to stick and entertain nonetheless. Cool
Paul van der Burght
label: I Hate records
songs: Dolen – Exiting The Real / Call For The Hearse / These Skies Must Break / Herod Again / Locust Reaper / Mother Of Plagues //
web: https://www.facebook.com/Hooded-Priest-296364420712/ http://www.hoodedpriest.org
Dutch Doomsters employing a sark and cold sphered interpretation of the genre that is given value by deep, grainy sounding guitars and those distinctive, narrative Doom vocals that move in the (upper) mid-range with fluctuations. Songs vary from a slow-motion pace on to up-tempo in the shape of 'accelerations' as evidenced on “These Skies Must Break” and “Locust Reaper”. There's the occasional shade of Candlemass, phased with hints of Reverend Bizarre (down the slug paced “Call For The Hearse”) and Black Sabbath (on the catchy, slow-fast alternating “Locust Reaper”. Although the vocals ar quite unique and characteristic, there is a certain click with Danzig, not so much in tone but more in the style of singing. Songs are long but manage to stick and entertain nonetheless. Cool
Paul van der Burght
PANDEMIA – 2018 “Behind Enemy Lines”
label: FAK records
songs: Behind Enemy Lines / Running Out Of Hope / Signs Of Life / Pandemia / Chemikaze / Suicide Squad / The Last Zombie Alliance / If I Were You... / Message Of Death //
web: https://www.facebook.com/PandemiaThrashMetal/
Late 80's styled Thrash Metal from Spain that sounds as if it came straight from the U.S WestCoast with the significant Bay Area riff style. Think a mix of Forbidden, Testament, Channel Zero and Wargasm, the latter which is most prominent on the velocity riffed “If I Were You...”. It is also in the vocal department that comparisons to Wargasm may arise, sporting a similar, raised mid-tone vocal style in a snappy, talk-type fashion. Completely in accordance with the genre, songs are driven by galloping snare drums, high speed mobility riffage, backing shouts and rhythmic 'pause' passages. Some good, allround solo actions throughout with double duties down the Forbidden / Horde Of Torment esque Thrasher “Running Out Of Hope”. Overall, a strong delivery.
Paul van der Burght
label: FAK records
songs: Behind Enemy Lines / Running Out Of Hope / Signs Of Life / Pandemia / Chemikaze / Suicide Squad / The Last Zombie Alliance / If I Were You... / Message Of Death //
web: https://www.facebook.com/PandemiaThrashMetal/
Late 80's styled Thrash Metal from Spain that sounds as if it came straight from the U.S WestCoast with the significant Bay Area riff style. Think a mix of Forbidden, Testament, Channel Zero and Wargasm, the latter which is most prominent on the velocity riffed “If I Were You...”. It is also in the vocal department that comparisons to Wargasm may arise, sporting a similar, raised mid-tone vocal style in a snappy, talk-type fashion. Completely in accordance with the genre, songs are driven by galloping snare drums, high speed mobility riffage, backing shouts and rhythmic 'pause' passages. Some good, allround solo actions throughout with double duties down the Forbidden / Horde Of Torment esque Thrasher “Running Out Of Hope”. Overall, a strong delivery.
Paul van der Burght
ELEINE – 'Seductive, Stylish and Monumental'....
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Eleine photos above left and right by GRANN Photography
ELEINE
Sweden is the home-base for Eleine; published Alternative Model and singer for RM Duo and Symphonic (Power)Metal band ELEINE that have just released their second album “Until The End”.
ELEINE links:
http://www.eleine.com www.facebook.com/eleineofficial www.instagram.com/eleineofficial
Signed / unsigned Eleine prints / posters are available here: http://eleine.tictail.com/
Photographer link: GRANN Photography: https://www.facebook.com/grannphotography/
Sweden is the home-base for Eleine; published Alternative Model and singer for RM Duo and Symphonic (Power)Metal band ELEINE that have just released their second album “Until The End”.
ELEINE links:
http://www.eleine.com www.facebook.com/eleineofficial www.instagram.com/eleineofficial
Signed / unsigned Eleine prints / posters are available here: http://eleine.tictail.com/
Photographer link: GRANN Photography: https://www.facebook.com/grannphotography/
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Eleine photos left and above right by GRANN Photography
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Eleine photo above left by Machine Room Design
ELEINE – 2018 “Until The End”
label: Black Lodge records
songs: Story Untold / Echoes / Sanity / From The Grave / Whisper My Child / Until The End / Please / Another Rite / Hell Moon (We Shall Never Die) / Prelude – Arise / Break Take Live //
web: https://www.eleine.com/
Second full-length album by this Swedish, female fronted 6-piece, engaging some atmospheric laden, symphonic PowerMetal that comes with an almost orchestral like instrumentation (synths) that also accounts for the more dramatic, Eastern sphered moments on the discs; including the Progressive rooted “Story Untold”, the moderately paced “Whisper My Child”, the slow grinding Power Ballad “From The Grave” and the semi-balladry of “Until The End”. And then there's the beautifully sensible vocal-piano piece “Please”, accenting the warm and melodic laden lead vocalage of Eleine that nicely contrasts with the deep gruntage of Rikard Ekberg (guitar / vocals) that is found throughout the disc to alternate Eleine's leads. Songs are preferably slow and moderately paced to up-tempo, with a good, allround differentiation and musicianship, complimenting the pro-songwriting that runs through the set that moves well within the symphonic / melodic PowerMetal thing with a one off turn towards a more Mainstream radio oriented Goth sound down “Another Rite” , over against the crunch riffed dramatic Metal pounder that is Sanity. In all, "Until The End" is one very complete and eventfut album in its territories. Quality.
Paul van der Burght
label: Black Lodge records
songs: Story Untold / Echoes / Sanity / From The Grave / Whisper My Child / Until The End / Please / Another Rite / Hell Moon (We Shall Never Die) / Prelude – Arise / Break Take Live //
web: https://www.eleine.com/
Second full-length album by this Swedish, female fronted 6-piece, engaging some atmospheric laden, symphonic PowerMetal that comes with an almost orchestral like instrumentation (synths) that also accounts for the more dramatic, Eastern sphered moments on the discs; including the Progressive rooted “Story Untold”, the moderately paced “Whisper My Child”, the slow grinding Power Ballad “From The Grave” and the semi-balladry of “Until The End”. And then there's the beautifully sensible vocal-piano piece “Please”, accenting the warm and melodic laden lead vocalage of Eleine that nicely contrasts with the deep gruntage of Rikard Ekberg (guitar / vocals) that is found throughout the disc to alternate Eleine's leads. Songs are preferably slow and moderately paced to up-tempo, with a good, allround differentiation and musicianship, complimenting the pro-songwriting that runs through the set that moves well within the symphonic / melodic PowerMetal thing with a one off turn towards a more Mainstream radio oriented Goth sound down “Another Rite” , over against the crunch riffed dramatic Metal pounder that is Sanity. In all, "Until The End" is one very complete and eventfut album in its territories. Quality.
Paul van der Burght
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MOTH - "Spellbound"
Photo above: singer Cecilia / Moth
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Moth is a London based 4-piece unit that formed in 1990 and recorded an entire album's worth of songs until the band folded in 1993. Moth morphed into a band when guitarist Shaun Harvey - who was running a small studio called 'The Sunday School' – wrote a set of songs including “Good Time”, “Slip And Slide” plus a re-worked cover of “Speed Queen” by Deep Purple. Shaun asked a friend, Rick Deuce, to record the drum tracks, and with bass guitarist Jon Brooder (ex Lightning Strike) the foundations for Moth were laid. The band got completed by singer Cecilia; a 6 foot Swedish bar maid in a rubber dress who worked at the ‘Intrepid Fox’ in Soho, who asked Shaun to write some songs and make her the female Axl Rose. The first demo was recorded and the band was up and running. Shaun; “Soon after our session and then in rehearsals, Jon started to play the riff from “Spellbound” on his bass which I thought was great, and having learnt to play the complicated riff components and got it up to speed, me and Jon agreed I should write a song based around that riff”. The result is a high octane speedster in the early 80's Metal tradition, dressed with the tough as nails female vocal roar of Cecilia, moving in somewhere Leather Leone (Chastain) and Mark Briody (Jag Panzer). Shaun: “Spellbound” is a fabulous song with loads of great riffs and powerful vocals that gets everybody shouting “Shut Up” instead of “Shot Up”. It was the first song we had written from a bass riff idea and playing it live was an unbelievable buzz and gave us all a great sense of achievement”. “Spellbound” was recorded late summer 1991 and plans are to re-release the song on various formats, including cassette, along with other 'lost' Moth gems, such as “We Are The Blessed”, “Welcome To The Asylum”, “Save Us”, “Liar”, and the bobbing riff monster “Wise Man”.
Paul van der Burght |
SEASONS OF THE WOLF – 2018 “Last Act Of Defiance”
label: Iron Shield records
songs: Solar Flare / Desert Night / Take Us To The Stars / Be Careful What You Wish / Centuries Of Pain / Drifter / Fools Gold / Another Day / Dark Stratosphere / No More Room in Hell / Last Act Of Defiance //
web: www.seasonsofthewolf.com
Newest offering by this U.S act, featuring a brand of Progressive infused U.S Metal that largely identifies with Anvilchorus. Add to this a blend of Warlord and a Metal Church esque vocal roar (without the peaks) and that pretty much captures the set on this 11-songer. Music has a prominent usage of light synths without sounding mellow, and there's an equally prolific role of the guitars throughout , although this is mainly riff oriented as there's little solo action. Heaviest moment on the disc is the atmospheric layered, mid-tempo driven semi-PowerMetaler “Take Us To The Stars” with cool double-bass drum hooks, a nice solo, and a strong Warlord / Anvilchorus taste throughout. Good
Paul van der Burght
label: Iron Shield records
songs: Solar Flare / Desert Night / Take Us To The Stars / Be Careful What You Wish / Centuries Of Pain / Drifter / Fools Gold / Another Day / Dark Stratosphere / No More Room in Hell / Last Act Of Defiance //
web: www.seasonsofthewolf.com
Newest offering by this U.S act, featuring a brand of Progressive infused U.S Metal that largely identifies with Anvilchorus. Add to this a blend of Warlord and a Metal Church esque vocal roar (without the peaks) and that pretty much captures the set on this 11-songer. Music has a prominent usage of light synths without sounding mellow, and there's an equally prolific role of the guitars throughout , although this is mainly riff oriented as there's little solo action. Heaviest moment on the disc is the atmospheric layered, mid-tempo driven semi-PowerMetaler “Take Us To The Stars” with cool double-bass drum hooks, a nice solo, and a strong Warlord / Anvilchorus taste throughout. Good
Paul van der Burght
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TOXIKULL – 2018 “The Nightraiser”
label: Mosher / Firecum records
songs: Nightraiser / Surrender Or Die / Hellmaster / Freedom To Kill/ Satan Bloody Satan / Rocker (Hollywood Rose cover) //
web: https://www.facebook.com/toxikull/
Follow-up to the 2016 “Black Sheep” EP, featuring a set of high octane, mid 80's Euro SpeedMetal with classic HardRock features, siren vocals and the occasional, anthemic PowerMetal chanting (“Surrender Or Die”). Songs are incredibly fast and rhythm riffed with a good lot of propelling double bass drummage running underneath. Titletrack sounds like Judas Priest on warp speed, whereas “Surrender Or Die” acts as a display of the band's instrumental mobility with some dazzling bass lines. The double bass driven, mid-paced fist pumpers “Hellmaster” and “Satan Bloody Satan” further up the PowerMetal thing, whilst “Freedom To Kill” tops the levels of the SpeedMetal genre in an Agent Steel x 2 speed and style with blistering solo actions! Excellent!
Paul van der Burght
label: Mosher / Firecum records
songs: Nightraiser / Surrender Or Die / Hellmaster / Freedom To Kill/ Satan Bloody Satan / Rocker (Hollywood Rose cover) //
web: https://www.facebook.com/toxikull/
Follow-up to the 2016 “Black Sheep” EP, featuring a set of high octane, mid 80's Euro SpeedMetal with classic HardRock features, siren vocals and the occasional, anthemic PowerMetal chanting (“Surrender Or Die”). Songs are incredibly fast and rhythm riffed with a good lot of propelling double bass drummage running underneath. Titletrack sounds like Judas Priest on warp speed, whereas “Surrender Or Die” acts as a display of the band's instrumental mobility with some dazzling bass lines. The double bass driven, mid-paced fist pumpers “Hellmaster” and “Satan Bloody Satan” further up the PowerMetal thing, whilst “Freedom To Kill” tops the levels of the SpeedMetal genre in an Agent Steel x 2 speed and style with blistering solo actions! Excellent!
Paul van der Burght
ICEFIRE – 2018 “The Torment Of The Damned”
label: private
songs: Icefire / Crossing The Line / The Stalker / Photograph / The Highwayman / Banshee / Dead Of Night / Lord Of The Dance //
web: https://www.icefiretheband.com/
Second full-lenghter by this female fronted UK band employing some 80's styled Euro Metal in the tradition of the Mausoleum record label recording artists, Think a mix of Accept, Acid, Crystal Pride and Warlock with a dash of US act Malisha in the vocal department. Material is mainly mid tempo driven with faster, semi-Headbangers “Icefire” and “Lord Of The Dance”. There's traces of NWOBHM (”Crossing The Line”) and the Epic Metal thing (“The Highwayman”,”Banshee”) and another twist in concept is brought in by the balladry of “Photograph” featuring a far better, higher pitched and versatile vocal appearance over the rather static, and level-tone, moody edged delivery on the majority of songs. Material is rather straight forward with the bass player being the strongest element by far with a killer bass hook on opening tune “Icefire”. More tunes in the vein of ”Banshee” and some high-speed double bassdrum action would definitely have upgraded the album. OK
Paul van der Burght
label: private
songs: Icefire / Crossing The Line / The Stalker / Photograph / The Highwayman / Banshee / Dead Of Night / Lord Of The Dance //
web: https://www.icefiretheband.com/
Second full-lenghter by this female fronted UK band employing some 80's styled Euro Metal in the tradition of the Mausoleum record label recording artists, Think a mix of Accept, Acid, Crystal Pride and Warlock with a dash of US act Malisha in the vocal department. Material is mainly mid tempo driven with faster, semi-Headbangers “Icefire” and “Lord Of The Dance”. There's traces of NWOBHM (”Crossing The Line”) and the Epic Metal thing (“The Highwayman”,”Banshee”) and another twist in concept is brought in by the balladry of “Photograph” featuring a far better, higher pitched and versatile vocal appearance over the rather static, and level-tone, moody edged delivery on the majority of songs. Material is rather straight forward with the bass player being the strongest element by far with a killer bass hook on opening tune “Icefire”. More tunes in the vein of ”Banshee” and some high-speed double bassdrum action would definitely have upgraded the album. OK
Paul van der Burght
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HALLUX – 2018 “Hallux”
label: private
songs: .Exordium / Herders Of The Weak / Yersinia Pestis / Master Machine / Call Of The Blackbird / In Apathy / Shepherd Pig / Lowest Common Dominator / Chosen Enemy / Absolved In Flames / None //
web: https://www.facebook.com/halluxband/
Debut appearance by this Canadian 3-piece that have addressed to a mix of 90's DeathMetal and Thrash with slight undertones of the Progressive and semi-Industrial thing on the first set of songs. As per definition with Canadian acts, the technical element is omnipresent but not prominent, adhered to the individual display of skill, with a lot of in-depth mobility modes in the bass and drum department, as evidenced on the Voi Vod – meets – BlackMetal esque “Yersinia Pestis”, the sort of Industrial / BlackMetal phased “Herders Of The Weak”, and the driven “Call Of The Blackbird”. This band simply keeps surprising with each and every song, slipping in variations to the theme, yet one has a distinctive and original sound that surrounds the album as a whole with a lot of propelling double bass drummage and OTT vocals that combine grunts, raspy talk vocalage and intense scream modes, as witnessed on the slightly modern-edged “Call Of The Blackbird”. A turn towards the more atmospheric laden, downtoned thing is presented on “In Apathy”; one of the slower moments down the repertoire that is mainly moderately / upbeat tempo driven with the pounding double bass drums as the generator. The appearance of Hallux on this self-titled debut album is bare knuckle and pure with a razorsharp though not overproduced production that screams excellence in mix and proportion with a perfect, natural bass drum sound. Great.
Paul van der Burght
label: private
songs: .Exordium / Herders Of The Weak / Yersinia Pestis / Master Machine / Call Of The Blackbird / In Apathy / Shepherd Pig / Lowest Common Dominator / Chosen Enemy / Absolved In Flames / None //
web: https://www.facebook.com/halluxband/
Debut appearance by this Canadian 3-piece that have addressed to a mix of 90's DeathMetal and Thrash with slight undertones of the Progressive and semi-Industrial thing on the first set of songs. As per definition with Canadian acts, the technical element is omnipresent but not prominent, adhered to the individual display of skill, with a lot of in-depth mobility modes in the bass and drum department, as evidenced on the Voi Vod – meets – BlackMetal esque “Yersinia Pestis”, the sort of Industrial / BlackMetal phased “Herders Of The Weak”, and the driven “Call Of The Blackbird”. This band simply keeps surprising with each and every song, slipping in variations to the theme, yet one has a distinctive and original sound that surrounds the album as a whole with a lot of propelling double bass drummage and OTT vocals that combine grunts, raspy talk vocalage and intense scream modes, as witnessed on the slightly modern-edged “Call Of The Blackbird”. A turn towards the more atmospheric laden, downtoned thing is presented on “In Apathy”; one of the slower moments down the repertoire that is mainly moderately / upbeat tempo driven with the pounding double bass drums as the generator. The appearance of Hallux on this self-titled debut album is bare knuckle and pure with a razorsharp though not overproduced production that screams excellence in mix and proportion with a perfect, natural bass drum sound. Great.
Paul van der Burght
MADHOUSE – 2018 “Metal Or Die”
label: Iron Shield records
songs: Against Our Mind / Gates Of Hell / Hellice / Machinery / Tormentors / Back In The Black / Demons Of Insanity / One Way To Glory / Metal Or Die / Psycho God //
web: https://www.facebook.com/hellbangershamburg/
80's band that re-united in 2014 and are now presenting their very first album. Stickered as a 'Teutonic' Metal band, Germany's Madhouse do live up to the tag but address to WestCoast U.S Thrash and U.S PowerMetal in equal measures. This brings about a strong likeness to Overkill, phased with classic Euro-Metal as evidenced on the old-school Headbangers “Against our Mind” and “Back In The Black”. Same combination but more Thrash oriented is “Tormentors” with the mid-paced, double bass drummed “Gates Of Hell” tending towards Pirate Metal. Music is pretty straight forward and voiced with a mid-range tone that alternates rough and raised modes with more level style appearance with traces of Blackie Lawless (WASP). “Metal Or Die” has the classic feel, watered down with modern approached PowerMetal features which make Madhouse sound like a present day adaptation of the Mausoleum recording bands of the old days. Second half of the album moves in an all out Headbang gear upped to Speedmetal on “Psycho God”. OK
Paul van der Burght
label: Iron Shield records
songs: Against Our Mind / Gates Of Hell / Hellice / Machinery / Tormentors / Back In The Black / Demons Of Insanity / One Way To Glory / Metal Or Die / Psycho God //
web: https://www.facebook.com/hellbangershamburg/
80's band that re-united in 2014 and are now presenting their very first album. Stickered as a 'Teutonic' Metal band, Germany's Madhouse do live up to the tag but address to WestCoast U.S Thrash and U.S PowerMetal in equal measures. This brings about a strong likeness to Overkill, phased with classic Euro-Metal as evidenced on the old-school Headbangers “Against our Mind” and “Back In The Black”. Same combination but more Thrash oriented is “Tormentors” with the mid-paced, double bass drummed “Gates Of Hell” tending towards Pirate Metal. Music is pretty straight forward and voiced with a mid-range tone that alternates rough and raised modes with more level style appearance with traces of Blackie Lawless (WASP). “Metal Or Die” has the classic feel, watered down with modern approached PowerMetal features which make Madhouse sound like a present day adaptation of the Mausoleum recording bands of the old days. Second half of the album moves in an all out Headbang gear upped to Speedmetal on “Psycho God”. OK
Paul van der Burght
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BLACK CYCLONE – 2018 “Death Is King”
label: Gates of Hell records
songs: Death Is Crowned As King / Hordes / Black Cyclone / Falling Star / Beast Battalion / IAH / Under Your Hoof / Death By Crushing / This Is It //
web: https://www.facebook.com/blackcycloneband/
Debut album by these Swedish Thrashers, employing an amalgam of mid 80's Euro-Thrash, U.S Thrash / SpeedMetal that is fast paced and riff-oriented. After the European interpretation of opening tune “Death Is Crowned A King”, things take a turn towards the U.S sound clicking with Forbidden, Testament and Agent Steel down the next set of songs. Then, with follow-up tunes “Beast Battalion” and “IAH”, Black Cyclone adopts a style that is fairly identical to Overkill's “Taking Over” LP with similar vocals with an added hint of Udo. Still, with the Udo touch in the upper regions, the mere vocal style is rather PowerMetal minded with a variable upper range roar and siren yells. “Under Your Hoof” sort of phases the Overkill / Agent Steel thing with more of the Agent Steel sourcing down closing tune “This Is It”. Solid.
Paul van der Burght
label: Gates of Hell records
songs: Death Is Crowned As King / Hordes / Black Cyclone / Falling Star / Beast Battalion / IAH / Under Your Hoof / Death By Crushing / This Is It //
web: https://www.facebook.com/blackcycloneband/
Debut album by these Swedish Thrashers, employing an amalgam of mid 80's Euro-Thrash, U.S Thrash / SpeedMetal that is fast paced and riff-oriented. After the European interpretation of opening tune “Death Is Crowned A King”, things take a turn towards the U.S sound clicking with Forbidden, Testament and Agent Steel down the next set of songs. Then, with follow-up tunes “Beast Battalion” and “IAH”, Black Cyclone adopts a style that is fairly identical to Overkill's “Taking Over” LP with similar vocals with an added hint of Udo. Still, with the Udo touch in the upper regions, the mere vocal style is rather PowerMetal minded with a variable upper range roar and siren yells. “Under Your Hoof” sort of phases the Overkill / Agent Steel thing with more of the Agent Steel sourcing down closing tune “This Is It”. Solid.
Paul van der Burght
DEATH KEEPERS – 2018 “Rock This World”
label: Fighter records
songs: Rock & Roll City / Fire Angel / Death Keepers / Haven's Heaven / Rock This World / Thriving Forecast / Love's Within (Yourself) / Wildfire / Invention IV / Metallia / Smooth Hit Love //
web: https://deathkeepers1.bandcamp.com/
Yet another Spanish quality act, presenting a set of classic, melodic-laden HardRock / Metal that is layered with some fantastic guitar work. Think a mix of Picture, old Rainbow, Malmsteen, Vinnie Moore and Helloween with all the quality elements right up there. A good fraction of the repertoire entails those Malmsteen / Vinnie Moore styled, neo-classical guitar / synthesizer chops as showcased on “Haven's Heaven”, the balanced, 80's style instrumental “Thriving Forecast” and the guitar piece “”Invention IV”, On the other end of the spectrum is some high octane, kick-ass HardRock, delivered on the gripping, riff-raged “Rock & Roll City” (a la Picture “H.M. Ears” era) and the fast, double-bass drummed (Semi) Headbanger “Love's Within (Yourself)”. In between this comes some Helloween-esque, shout along HardRock / Metal in the shape of the anthemic “Death Keepers” and “Wildfire”, and then there's the balladry of “Smooth Hit Love” to seal the diversity of the album that is laced with some complete, wide-range vocalage a la Jeff Scott Soto, double-bass drummed hooks and a whole lot of deserving guitar flash. This simply is a top album that ticks all the boxes. Excellent!
Paul van der Burght
label: Fighter records
songs: Rock & Roll City / Fire Angel / Death Keepers / Haven's Heaven / Rock This World / Thriving Forecast / Love's Within (Yourself) / Wildfire / Invention IV / Metallia / Smooth Hit Love //
web: https://deathkeepers1.bandcamp.com/
Yet another Spanish quality act, presenting a set of classic, melodic-laden HardRock / Metal that is layered with some fantastic guitar work. Think a mix of Picture, old Rainbow, Malmsteen, Vinnie Moore and Helloween with all the quality elements right up there. A good fraction of the repertoire entails those Malmsteen / Vinnie Moore styled, neo-classical guitar / synthesizer chops as showcased on “Haven's Heaven”, the balanced, 80's style instrumental “Thriving Forecast” and the guitar piece “”Invention IV”, On the other end of the spectrum is some high octane, kick-ass HardRock, delivered on the gripping, riff-raged “Rock & Roll City” (a la Picture “H.M. Ears” era) and the fast, double-bass drummed (Semi) Headbanger “Love's Within (Yourself)”. In between this comes some Helloween-esque, shout along HardRock / Metal in the shape of the anthemic “Death Keepers” and “Wildfire”, and then there's the balladry of “Smooth Hit Love” to seal the diversity of the album that is laced with some complete, wide-range vocalage a la Jeff Scott Soto, double-bass drummed hooks and a whole lot of deserving guitar flash. This simply is a top album that ticks all the boxes. Excellent!
Paul van der Burght
FORTRESS – EP 2018 “Fortress”
label: private
songs: Witchcraft / Midnight Dream / Bloodmoon / Peace In Hell //
web: https://www.facebook.com/Fortressheavymetal
Yet another band that goes by the name of Fortress, This one's from Whittier, California U.S.A doing some classic, mid-80's Metal with a strong European root. This is evidenced straight away with the up-tempo “Witchcraft”; a driven and riff-based U.S. Metal track with a melodic edge running underneath a Breaker meets Maiden sort of sound.that is dressed with some nice, extended solo actions, “Midnight Dream”, another riff-based outing somewhere in between Dokken, Malice and Razormaid, ups the melodic sense whilst the up-tempo “Bloodmoon” has Iron Maiden written all over, a comparison that is inevitable with a singer that sound much like Bruce Dickinson with a James Neal (Malice) styled sidekick, pushed forward on the driven, Malice / Maiden merged “Peace In Hell” featuring some strong, Vivian Campbell esque guitars. Fortress is gifted with a great, wide-range power vocalist, adding the extra delivery to the sticky set that is musically fit with some cool, tasty guitar flash. Great.
Paul van der Burght
label: private
songs: Witchcraft / Midnight Dream / Bloodmoon / Peace In Hell //
web: https://www.facebook.com/Fortressheavymetal
Yet another band that goes by the name of Fortress, This one's from Whittier, California U.S.A doing some classic, mid-80's Metal with a strong European root. This is evidenced straight away with the up-tempo “Witchcraft”; a driven and riff-based U.S. Metal track with a melodic edge running underneath a Breaker meets Maiden sort of sound.that is dressed with some nice, extended solo actions, “Midnight Dream”, another riff-based outing somewhere in between Dokken, Malice and Razormaid, ups the melodic sense whilst the up-tempo “Bloodmoon” has Iron Maiden written all over, a comparison that is inevitable with a singer that sound much like Bruce Dickinson with a James Neal (Malice) styled sidekick, pushed forward on the driven, Malice / Maiden merged “Peace In Hell” featuring some strong, Vivian Campbell esque guitars. Fortress is gifted with a great, wide-range power vocalist, adding the extra delivery to the sticky set that is musically fit with some cool, tasty guitar flash. Great.
Paul van der Burght
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DRACENA – 2017 “Cursed To The Night”
label: Inferno records
songs: The Strangeness / That You Fear The Most / Cursed To The Night / Choirs Of Torment / Elusive Madness / Masque Of Death / Inside These Bloodstained Walls / The Shadow Of What Once Was //
web: www.dracena.se
Originated as an all-female act, Sweden's Dracena now operates as a solo-project with MiA handling guitar, bass and vocals duties and guest musicians Jocke (drums) and Frederik Folkare – from Unleashed / Firespawn laying down all the solos and lead melodies. Stickered as a mix between Bathory, Mercyful Fate, Venom and Running Wild, there is no guessing about the classic rooted nature on this 8-songer. On offer is a blend of early 80's Blackened Thrash / DeathThrash with an equal measure of 90's, melodic BlackMetal with a one-off tendency towards the Gothic thing as displayed on “That You Fear The Most”. Throughout the disc, there is a minimal use of blast beats, and the double-bass drummage is also proportioned without the artificial 'hyper speed' modes. Focal points throughout are the gruff and raspy, all-out BlackMetal vocals of MiA and the superb, melodic laden guitar flash of Frederik Folkare that on more than one occasion brings Marty Friedman to mind. The riffage is mostly Thrash type, and in combination with the gaspy vocalage, identifies with the early Destruction material, as spotlighted on “Choirs Of Torment” (a la “invincible Force Of Evil”) and closing tune “The Shadow Of What Once Was”. Cool.
Paul van der Burght
label: Inferno records
songs: The Strangeness / That You Fear The Most / Cursed To The Night / Choirs Of Torment / Elusive Madness / Masque Of Death / Inside These Bloodstained Walls / The Shadow Of What Once Was //
web: www.dracena.se
Originated as an all-female act, Sweden's Dracena now operates as a solo-project with MiA handling guitar, bass and vocals duties and guest musicians Jocke (drums) and Frederik Folkare – from Unleashed / Firespawn laying down all the solos and lead melodies. Stickered as a mix between Bathory, Mercyful Fate, Venom and Running Wild, there is no guessing about the classic rooted nature on this 8-songer. On offer is a blend of early 80's Blackened Thrash / DeathThrash with an equal measure of 90's, melodic BlackMetal with a one-off tendency towards the Gothic thing as displayed on “That You Fear The Most”. Throughout the disc, there is a minimal use of blast beats, and the double-bass drummage is also proportioned without the artificial 'hyper speed' modes. Focal points throughout are the gruff and raspy, all-out BlackMetal vocals of MiA and the superb, melodic laden guitar flash of Frederik Folkare that on more than one occasion brings Marty Friedman to mind. The riffage is mostly Thrash type, and in combination with the gaspy vocalage, identifies with the early Destruction material, as spotlighted on “Choirs Of Torment” (a la “invincible Force Of Evil”) and closing tune “The Shadow Of What Once Was”. Cool.
Paul van der Burght
TERRORHAMMER - EP 2018 “In The Name Of Hell”
label: Dying Victims productions
songs: The Omen (intro) / Riding On A Devil's Storm / The Powers Of Darkness / Hell Metal / Black Terror (Korrozia Metalla cover)
web: https://terrorhammer.bandcamp.com
Serbian 4-piece harking back to the classic, early 80's Blackened SpeedMetal sound that moves somewhere in between Sodom and Acid. First track up, “Riding On A Devil's Storm” testifies to this, phasing some SpeedMetal mould riffage and rhythm riffage with an all Sodom like gaspy vocal roar. This EP is one pure, bare knuckle European SpeedMetal offering with the occasional HardCore MetalPunk guitar chords to give it this down and dirty, unpolished feel. The Acid click comes resurfacing hard and fast on the retro rhythm riffed “”Hell Metal” featuring some thundering double bass drum hooks. Great!
Paul van der Burght
label: Dying Victims productions
songs: The Omen (intro) / Riding On A Devil's Storm / The Powers Of Darkness / Hell Metal / Black Terror (Korrozia Metalla cover)
web: https://terrorhammer.bandcamp.com
Serbian 4-piece harking back to the classic, early 80's Blackened SpeedMetal sound that moves somewhere in between Sodom and Acid. First track up, “Riding On A Devil's Storm” testifies to this, phasing some SpeedMetal mould riffage and rhythm riffage with an all Sodom like gaspy vocal roar. This EP is one pure, bare knuckle European SpeedMetal offering with the occasional HardCore MetalPunk guitar chords to give it this down and dirty, unpolished feel. The Acid click comes resurfacing hard and fast on the retro rhythm riffed “”Hell Metal” featuring some thundering double bass drum hooks. Great!
Paul van der Burght
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LUCIFER'S HAMMER – 2018 “Time Is Death”
label: Stormspell records
songs: Time Is Death / Prisoners Of The Night / Shadows Of Darkness / Garapuna / Lady Dark / Traitors Of The Night / Dreamer //
web: https://lucifershammerband.bandcamp.com/
Chile based outfit crafting a brand of 80's Scandinavian / Swedish styled melodic Metal with a strong Maiden flavour and the occasional shade of Omen. This is evidenced straight away on the titletrack, with the Maiden sourcing further upped by the mirror-like solo action & rhythm section, plus the up-tempo instrumental “Garapuna”. Material rolls on rhythmic layers, caked with plenty of guitar action and melodies, voiced with mid-range vocals. The classic Swedish Metal sound is all over the upbeat driven “Traitors Of The Night”, whilst the mid-paced, “Lady Dark”has the Euro-Metal thing tending towards melodic PowerMetal, after a Maiden 'Powerslave' era styled rhythmic interlude. Strong points are the catchy, driven nature of the music, the multi-structured themes (although preferably mid / up-tempo) and the all round performance. Solid.
Paul van der Burght
label: Stormspell records
songs: Time Is Death / Prisoners Of The Night / Shadows Of Darkness / Garapuna / Lady Dark / Traitors Of The Night / Dreamer //
web: https://lucifershammerband.bandcamp.com/
Chile based outfit crafting a brand of 80's Scandinavian / Swedish styled melodic Metal with a strong Maiden flavour and the occasional shade of Omen. This is evidenced straight away on the titletrack, with the Maiden sourcing further upped by the mirror-like solo action & rhythm section, plus the up-tempo instrumental “Garapuna”. Material rolls on rhythmic layers, caked with plenty of guitar action and melodies, voiced with mid-range vocals. The classic Swedish Metal sound is all over the upbeat driven “Traitors Of The Night”, whilst the mid-paced, “Lady Dark”has the Euro-Metal thing tending towards melodic PowerMetal, after a Maiden 'Powerslave' era styled rhythmic interlude. Strong points are the catchy, driven nature of the music, the multi-structured themes (although preferably mid / up-tempo) and the all round performance. Solid.
Paul van der Burght
HAZZERD – 2017 “Misleading Evil”
label: Word War Now
songs: The Tendencies Of A Madman / Absolute Destruction / The Execution Of The Damned / Misleading Evil / The Fallen / Under The Influence / Apocalypse Dawn / Road To Nowhere //
web: https://hazzerdthrash.bandcamp.com/
Most recently, Canada has popped out one quality act after another in both the retro Speed / ThrashMetal genre, and this Calgary based 4-piece is one of the toppers premiering into the in 2014 with the “Victimize The Innocent” E.P. “Misleading Evil” is their newest work, coupling some 'best of the class' retro Speed / Thrash Metal. The band goes straight for the kill with the Forbidden - meets – Testament like “The Tendencies Of A Madman”, showcasing some energetic, late 80's US ThrashMetal with all the trimmings. Next tune up, “Absolute Destruction” displays shades of classic Metal a la Priest and Maiden, merged with Megadeth esqueThrash features (interlude) over slower (mid-up tempo) drives with Metal style solo action, whilst “The Execution Of The Damned” takes on more modern mould Thrash with a Metal-edged feel to it. Variation is further complimented by a Metal / SpeedMetal fused instrumental. It is also here that the band clicks with Flotsam & Jetsam in terms of lead guitar-feedback / sound, upped on the intro and in the solo department that couples melodies and subtlety with controlled speed chops. Throughout the album, the guitar action is in-depth and well balanced, other than the standard, fast-only chops that hallmark the Trash genre. Galloping Bay Area modes are incorporated down the moderately fast paced “The Fallen” with its slow, guitar showered mid-section that has Metal written all over.“Under The Influence” is a SpeedMetal / Thrash mixed track with fragments of Megadeth, and some original, low-toned (solo) action with the bobbing bass pushed forward. The fast – slow paced “Apocalyse Now” has the modern element coupled to the classic Bay Area sound whilst the sticky,and largely rif-oriented Thrasher “Road To Nowhere” further accents the Megadeth flavour. Hazzerd have got the originality element high up and back it up with a solid diversity flow and in-depth, yet controlled musicianship that is hallmarked by some great, ultra-tight drummage by Dylan Westendorp who also happens to be the singer in the band, delivering some tailormade, hoarse vocalage with a bite. In all, a very complete and competent album that is well up there with some of the best Speed / Thrash hybrids unleashed in 2017. Great.
Paul van der Burght
label: Word War Now
songs: The Tendencies Of A Madman / Absolute Destruction / The Execution Of The Damned / Misleading Evil / The Fallen / Under The Influence / Apocalypse Dawn / Road To Nowhere //
web: https://hazzerdthrash.bandcamp.com/
Most recently, Canada has popped out one quality act after another in both the retro Speed / ThrashMetal genre, and this Calgary based 4-piece is one of the toppers premiering into the in 2014 with the “Victimize The Innocent” E.P. “Misleading Evil” is their newest work, coupling some 'best of the class' retro Speed / Thrash Metal. The band goes straight for the kill with the Forbidden - meets – Testament like “The Tendencies Of A Madman”, showcasing some energetic, late 80's US ThrashMetal with all the trimmings. Next tune up, “Absolute Destruction” displays shades of classic Metal a la Priest and Maiden, merged with Megadeth esqueThrash features (interlude) over slower (mid-up tempo) drives with Metal style solo action, whilst “The Execution Of The Damned” takes on more modern mould Thrash with a Metal-edged feel to it. Variation is further complimented by a Metal / SpeedMetal fused instrumental. It is also here that the band clicks with Flotsam & Jetsam in terms of lead guitar-feedback / sound, upped on the intro and in the solo department that couples melodies and subtlety with controlled speed chops. Throughout the album, the guitar action is in-depth and well balanced, other than the standard, fast-only chops that hallmark the Trash genre. Galloping Bay Area modes are incorporated down the moderately fast paced “The Fallen” with its slow, guitar showered mid-section that has Metal written all over.“Under The Influence” is a SpeedMetal / Thrash mixed track with fragments of Megadeth, and some original, low-toned (solo) action with the bobbing bass pushed forward. The fast – slow paced “Apocalyse Now” has the modern element coupled to the classic Bay Area sound whilst the sticky,and largely rif-oriented Thrasher “Road To Nowhere” further accents the Megadeth flavour. Hazzerd have got the originality element high up and back it up with a solid diversity flow and in-depth, yet controlled musicianship that is hallmarked by some great, ultra-tight drummage by Dylan Westendorp who also happens to be the singer in the band, delivering some tailormade, hoarse vocalage with a bite. In all, a very complete and competent album that is well up there with some of the best Speed / Thrash hybrids unleashed in 2017. Great.
Paul van der Burght
SAFFIRE ROXX
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Above left: Saffire Roxx photo by Steve Candi.Above right: Saffire Roxx photo by Lincs Alternative Imaging
SAFFIRE ROXX - Tattoed, Alternative and Latex Model from Yorkshire, UK
SAFFIRE ROXX links: https://www.facebook.com/saffireroxx/ https://www.instagram.com/saffireroxx
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Above left; Saffire Roxx photo by Markus Sam. Above right; Saffire Roxx photo by Sparks1 Photography
BOMBER – 2018 “Sommation”
label: private
songs: Bombarded / Damn Negative / Demolition / League For Cancer / The Man With No Name / Muscle Man / Pride Of The Burglars / Provider Of Hate / Speeding / Witness Hell / Assembled To Thrash //
web: https://www.facebook.com/BomberOfficialBand/
French outfit doing some Motorhead – meets – early Metallica”Kill 'Em All” era Thrash with a MetalPunk-ish undertone and feel. The James Hetfield inspired vocals are roughed and roary in the upper mid-range which makes for quite a distinctive and unique vocal tone. Songs are rhythm riffed and rhythmic with some hyper-double bass drum action going down on “Damn Negative”, and the Megadeth-esque “Lague For Cancer”. Music has this no-nonsense and pure sound and attitude that compliments the retro feel of it all, with the HardCore Metal Punk pushed forward on the strongly Metallica's “Motorbreath” laden “Demolition”. Cool, blistering solo chops throughout, plenty of energy and gripping song themes; this album comes with all the early style Thrash trimmings. A must for retro Thrash and “Kill 'Em All” Metallica fans. Cool.
Paul van der Burght
label: private
songs: Bombarded / Damn Negative / Demolition / League For Cancer / The Man With No Name / Muscle Man / Pride Of The Burglars / Provider Of Hate / Speeding / Witness Hell / Assembled To Thrash //
web: https://www.facebook.com/BomberOfficialBand/
French outfit doing some Motorhead – meets – early Metallica”Kill 'Em All” era Thrash with a MetalPunk-ish undertone and feel. The James Hetfield inspired vocals are roughed and roary in the upper mid-range which makes for quite a distinctive and unique vocal tone. Songs are rhythm riffed and rhythmic with some hyper-double bass drum action going down on “Damn Negative”, and the Megadeth-esque “Lague For Cancer”. Music has this no-nonsense and pure sound and attitude that compliments the retro feel of it all, with the HardCore Metal Punk pushed forward on the strongly Metallica's “Motorbreath” laden “Demolition”. Cool, blistering solo chops throughout, plenty of energy and gripping song themes; this album comes with all the early style Thrash trimmings. A must for retro Thrash and “Kill 'Em All” Metallica fans. Cool.
Paul van der Burght
ERUPTION – 2017 “Cloaks Of Oblivion”
label: Xtreem music
songs: Pharos / Sanity Ascend / Cloaks Of Oblivion / Drones / Reborn Into Demise / The Yearning / This Barren Existence / Seven Archons / The Prophet //
web: https://eruptionthrash.bandcamp.com/
Album no.4 by these Slovenian Thrashers, engaging some late 80's / early 90's U.S Thrash / SpeedMetal that collects the sounds of bands such as Exodus, Overkill, Annihilator, Testament and Toxik with all the trimmings. In addition, Eruption has also slipped in some PowerMetal modes, as spotlighted on the Progressive edged “Cloaks Of Oblivion” and the mid-paced, Epic sphered “The Prophet”. Songs are quite long and in-depth with well over 4+ minutes and averaging 5 / 6+ minutes but filled in nicely with a solid, all round performance and dressed with a strong, Metal Church esque vocal roar and high pitched screams. The set is not fast only, but nicely alternated with slower, grinding tracks with added atmospheres peaking on the menacing “This Barren Existence”. Great.
Paul van der Burght
label: Xtreem music
songs: Pharos / Sanity Ascend / Cloaks Of Oblivion / Drones / Reborn Into Demise / The Yearning / This Barren Existence / Seven Archons / The Prophet //
web: https://eruptionthrash.bandcamp.com/
Album no.4 by these Slovenian Thrashers, engaging some late 80's / early 90's U.S Thrash / SpeedMetal that collects the sounds of bands such as Exodus, Overkill, Annihilator, Testament and Toxik with all the trimmings. In addition, Eruption has also slipped in some PowerMetal modes, as spotlighted on the Progressive edged “Cloaks Of Oblivion” and the mid-paced, Epic sphered “The Prophet”. Songs are quite long and in-depth with well over 4+ minutes and averaging 5 / 6+ minutes but filled in nicely with a solid, all round performance and dressed with a strong, Metal Church esque vocal roar and high pitched screams. The set is not fast only, but nicely alternated with slower, grinding tracks with added atmospheres peaking on the menacing “This Barren Existence”. Great.
Paul van der Burght
EARTHLESS – 2018 “Black Heaven”
label: Nuclear Blast records
songs: Gifted By The Wind / End To End / Electric Flame / Volt Rush / Black Heaven / Sudden End //
web: https://www.earthlessofficial.com/
Fourth album by this San Diego outfit and the first one to feature vocals! The “Black Heaven” album still is one largely instrumental / guitar oriented affair, but with the added vocals, it takes the band out of the 'spacy' and psychedelic spheres although there's still flares of it down “Electric Flame” that climaxes in a Hawkwind-esque fashion with an over the top guitar solo. There's still some instrumentals in there all right, respectively the catchy 70's HardRockin' Bluester “Volt Rush” and the mid / up-tempo riff monster that is “Black Heaven”, but either with or without vocals, this thing Rocks, right from the 'brown' guitar sound a la Eddy Van Halen on the Black Sabbath meets Van Halen meets Ram Jam on the 70's HardRock groovster that is “Gifted By The Wind” onto the more dark sphered HardRock semi-balladry of the slow-paced closing tune “Sudden End”. Sandwiched in between these tracks is a groove overload that moves in a jam-session like fashion that is packed with a lot of guitar funnelled through steaming BluesRock hooks a la Robin Trower and kick ass solo actions that are taken to a max with a barrage of 70's Fuzz and wah wah on the guitar. The vocalage of Isaiah Mitchell make a perfect match with the music, delivering a semi upper mid-range tone in a laid-back style that has 70's Rock written all over, drawing parallels with Ted Nugent and the Allman Brothers band. Everything on this 6 songer fits with a superb musicianship that elevates the “Black Heaven” album to the outer atmosphere of ad lib music. Fantastic! 10/10
Paul van der Burght
label: Nuclear Blast records
songs: Gifted By The Wind / End To End / Electric Flame / Volt Rush / Black Heaven / Sudden End //
web: https://www.earthlessofficial.com/
Fourth album by this San Diego outfit and the first one to feature vocals! The “Black Heaven” album still is one largely instrumental / guitar oriented affair, but with the added vocals, it takes the band out of the 'spacy' and psychedelic spheres although there's still flares of it down “Electric Flame” that climaxes in a Hawkwind-esque fashion with an over the top guitar solo. There's still some instrumentals in there all right, respectively the catchy 70's HardRockin' Bluester “Volt Rush” and the mid / up-tempo riff monster that is “Black Heaven”, but either with or without vocals, this thing Rocks, right from the 'brown' guitar sound a la Eddy Van Halen on the Black Sabbath meets Van Halen meets Ram Jam on the 70's HardRock groovster that is “Gifted By The Wind” onto the more dark sphered HardRock semi-balladry of the slow-paced closing tune “Sudden End”. Sandwiched in between these tracks is a groove overload that moves in a jam-session like fashion that is packed with a lot of guitar funnelled through steaming BluesRock hooks a la Robin Trower and kick ass solo actions that are taken to a max with a barrage of 70's Fuzz and wah wah on the guitar. The vocalage of Isaiah Mitchell make a perfect match with the music, delivering a semi upper mid-range tone in a laid-back style that has 70's Rock written all over, drawing parallels with Ted Nugent and the Allman Brothers band. Everything on this 6 songer fits with a superb musicianship that elevates the “Black Heaven” album to the outer atmosphere of ad lib music. Fantastic! 10/10
Paul van der Burght
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BLAZING RUST – 2017 “Armed To Exist”
label: Pure Steel records
songs: Hellbringer / Shimmering Dawn / Blazing Rust / Dying World / Blindfold / Almighty Lord / Witch / Time Of The Brave / Under The Spell //
web: www.facebook.com/blazingrust/ www.blazingrust.bandcamp.com
Debut full-lengther by this St. Petersburg based 5-piece, following an earlier split release – “Metal Masters vol.II” - in 2015. Blazing Rust are a NWOTHM band with a well balanced, melodic edged sound that connects with the later NWOBHM acts, and more significantly, Scandinavian bands such as Pretty Maids and early Europe. This finds its expression in the melodic sense, twin guitar hooks, tasty guitarwork and allround concept, as evidenced on the upbeat driven “Dying World” and the mod / mid paced “Almighty Lord”. Overall, the band toys a lot with variations to the NWOTHM thing, gelling the likes of Pretty Maids, Obsession and Priest down the climaxing, 'Painkiller' esque “Hellbringer”, and coupling Riot to Avenger on the driven upbeat “Blindfold” that comes complete with Brian Ross alike shrieks! One of the more in-depth tunes of the set is the 80's, Scandinavian mould “Witch” that starts off as a traditional, slow-paced, Dio hinted HardRocker that turns into a full-throttle, melodic Metaler with great guitar-action and twin melodies in its mid-section. Although far more melodic, the driven mid-tempo “Time of The Brave” sports certain similarities to Mercyful fate in the instrumental / guitar department alongside Vivian Campbell (Dio) styled guitar hooks. The vocalage of Igor Arbuzov is most deserving, delivering a crisp and clear, mid-range tone with a melodic edge and the occasional, higher pitched yells. No matter what theme or tempo, Blazing Rust entertains and delivers all the way through; from the energetic, almost PowerMetal like notes of opening tune “Hellbringer” to the slow pounding groove of the riff-based HardRocker “Under The Spell”. This is one very complete and pleasant, traditional HardRock / Metal affair well worth checking out! Strong.
Paul van der Burght
label: Pure Steel records
songs: Hellbringer / Shimmering Dawn / Blazing Rust / Dying World / Blindfold / Almighty Lord / Witch / Time Of The Brave / Under The Spell //
web: www.facebook.com/blazingrust/ www.blazingrust.bandcamp.com
Debut full-lengther by this St. Petersburg based 5-piece, following an earlier split release – “Metal Masters vol.II” - in 2015. Blazing Rust are a NWOTHM band with a well balanced, melodic edged sound that connects with the later NWOBHM acts, and more significantly, Scandinavian bands such as Pretty Maids and early Europe. This finds its expression in the melodic sense, twin guitar hooks, tasty guitarwork and allround concept, as evidenced on the upbeat driven “Dying World” and the mod / mid paced “Almighty Lord”. Overall, the band toys a lot with variations to the NWOTHM thing, gelling the likes of Pretty Maids, Obsession and Priest down the climaxing, 'Painkiller' esque “Hellbringer”, and coupling Riot to Avenger on the driven upbeat “Blindfold” that comes complete with Brian Ross alike shrieks! One of the more in-depth tunes of the set is the 80's, Scandinavian mould “Witch” that starts off as a traditional, slow-paced, Dio hinted HardRocker that turns into a full-throttle, melodic Metaler with great guitar-action and twin melodies in its mid-section. Although far more melodic, the driven mid-tempo “Time of The Brave” sports certain similarities to Mercyful fate in the instrumental / guitar department alongside Vivian Campbell (Dio) styled guitar hooks. The vocalage of Igor Arbuzov is most deserving, delivering a crisp and clear, mid-range tone with a melodic edge and the occasional, higher pitched yells. No matter what theme or tempo, Blazing Rust entertains and delivers all the way through; from the energetic, almost PowerMetal like notes of opening tune “Hellbringer” to the slow pounding groove of the riff-based HardRocker “Under The Spell”. This is one very complete and pleasant, traditional HardRock / Metal affair well worth checking out! Strong.
Paul van der Burght
TENSION – EP 2018 “TENSION”
label: Dying Victims productions
songs: Midnight Traveller / Hardrocker / Sinner / The Mark //
web: https://www.facebook.com/TensionLE/
First appearance by this German that draws its influences from the NWOBHM and the First Wave Of Swedish Heavy Metal. Band has done really well capturing this sound, gelling the likes of Scandinavian Metal acts such as WitchCross (“Midnight Traveller”) and Insane(“HardRocker”) with hints of Iron Maiden, Satan, Avenger and U.S. PowerMetalers Omen. This Omen sound is most evident on the melodic Headbanger “HardRocker” and chord-riffed HardRock / Metaler “Sinner” that turns into another Headbanger that phases the aforementoned with Satan and the Swedish Metal sound. The Satan / Avenger thing comes re-appearing on closing tune “The Mark”, a mid-tempo HardRock number, dressed with twin melodies and Scandinavian styled, melodic edged vocalage in the (lower) mid-range. Strong!
Paul van der Burght
label: Dying Victims productions
songs: Midnight Traveller / Hardrocker / Sinner / The Mark //
web: https://www.facebook.com/TensionLE/
First appearance by this German that draws its influences from the NWOBHM and the First Wave Of Swedish Heavy Metal. Band has done really well capturing this sound, gelling the likes of Scandinavian Metal acts such as WitchCross (“Midnight Traveller”) and Insane(“HardRocker”) with hints of Iron Maiden, Satan, Avenger and U.S. PowerMetalers Omen. This Omen sound is most evident on the melodic Headbanger “HardRocker” and chord-riffed HardRock / Metaler “Sinner” that turns into another Headbanger that phases the aforementoned with Satan and the Swedish Metal sound. The Satan / Avenger thing comes re-appearing on closing tune “The Mark”, a mid-tempo HardRock number, dressed with twin melodies and Scandinavian styled, melodic edged vocalage in the (lower) mid-range. Strong!
Paul van der Burght
METALIAN – 2017 “MIDNIGHT RIDER”
label: private
songs: intro / Midnight Rider / Inside The Dome / Breakout / Burn It Down / Firestorm / The Haunting / Bastards //
web: https://www.facebook.com/metalianz
Second full lengther by these Canadian Metalers, featuring a highly entertaining mix of early 80's Metal, Power and SpeedMetal that collects the sounds of bands such as Omen and Savage Grace, Priest, Maiden and Jaguar. A lot of detail is going into the programming of the songs that on average are layered with multiple timing and melody changes, as witnessed on the instrumental intro. Equally, Metalian opt for a more straight-forward approach to match the nature of songs such as “Burn It Down” that has Priest written all over. Songs are driven, rhythmic and energetic with gripping, instant access themes and showers of great guitar action and Maiden style synchronized hooks, as evidenced on “Intro”. Some of the faster moments on the disc include the Omen / Savage Grace tinged “Breakout”, and the accelerated parts of “Firestorm”, drawing a certain likeness to Jaguar's “Dutch Connection”. Metalian have a great singer, delivering a complete vocal style and tone that moves in the mid-range and comes with a good vibrato and reach topping siren yells. “Midnight Rider” is a true gem in retro-inspired Metal territories and makes one of the better picks of 2017. Well worth checking out.
Paul van der Burght
label: private
songs: intro / Midnight Rider / Inside The Dome / Breakout / Burn It Down / Firestorm / The Haunting / Bastards //
web: https://www.facebook.com/metalianz
Second full lengther by these Canadian Metalers, featuring a highly entertaining mix of early 80's Metal, Power and SpeedMetal that collects the sounds of bands such as Omen and Savage Grace, Priest, Maiden and Jaguar. A lot of detail is going into the programming of the songs that on average are layered with multiple timing and melody changes, as witnessed on the instrumental intro. Equally, Metalian opt for a more straight-forward approach to match the nature of songs such as “Burn It Down” that has Priest written all over. Songs are driven, rhythmic and energetic with gripping, instant access themes and showers of great guitar action and Maiden style synchronized hooks, as evidenced on “Intro”. Some of the faster moments on the disc include the Omen / Savage Grace tinged “Breakout”, and the accelerated parts of “Firestorm”, drawing a certain likeness to Jaguar's “Dutch Connection”. Metalian have a great singer, delivering a complete vocal style and tone that moves in the mid-range and comes with a good vibrato and reach topping siren yells. “Midnight Rider” is a true gem in retro-inspired Metal territories and makes one of the better picks of 2017. Well worth checking out.
Paul van der Burght
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DOG CHASING SUN – 2018 “Slow Burn”
label: private
songs: Wasteland Law / Great Swamp Lords / Southern Melancholy / First Sun Of The New World / A Sun That Never Shine / Selldestruction / Only Stoned Will Survive / Sister / Fading Fire //
web: http://dogchasingsun.bandcamp.com/
Russian one man project engaging some trippy Stoner Doom that sticks right from the opening tunes of the slightly 60's Psychedelic tinged “Wasteland Law”, onto the laid back guitar vibes of closing track”Fading Fire”.The whole thing is instrumental, and just right in terms of tune and tone; downtoned but not too low and with a good, grainy guitar / bass sound that sits just under distortion and is up there in gain feedback. “Slow Burn” simply grooves and rocks in a slow fashion, and easily entertains throughout individual song durations of 5+ minutes average, either by main theme, guitar melodies or a combination of both, with some cool, ambient like guitar thrown in “A Sun That Never Shine”. Strong.
Paul van der Burght
label: private
songs: Wasteland Law / Great Swamp Lords / Southern Melancholy / First Sun Of The New World / A Sun That Never Shine / Selldestruction / Only Stoned Will Survive / Sister / Fading Fire //
web: http://dogchasingsun.bandcamp.com/
Russian one man project engaging some trippy Stoner Doom that sticks right from the opening tunes of the slightly 60's Psychedelic tinged “Wasteland Law”, onto the laid back guitar vibes of closing track”Fading Fire”.The whole thing is instrumental, and just right in terms of tune and tone; downtoned but not too low and with a good, grainy guitar / bass sound that sits just under distortion and is up there in gain feedback. “Slow Burn” simply grooves and rocks in a slow fashion, and easily entertains throughout individual song durations of 5+ minutes average, either by main theme, guitar melodies or a combination of both, with some cool, ambient like guitar thrown in “A Sun That Never Shine”. Strong.
Paul van der Burght
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WALPYRGUS – CD / LP 2017 “Walpyrgus Nights”
label: Cruz Del Sur Music http://www.cruzdelsurmusic.com
songs: The Dead Of Night / Somewhere Under Summerwind / Dead Girls / Lauralone / Palmystry / She Lives / Light Of A Torch (Witch Cross cover) / Walpyrgus Nights //
web: https://www.facebook.com/Walpyrgus
North Carolina's Walpyrgus is the incarnation of Twisted Tower Dire members that hooked up with other veteran Metal musicians, merging a diverse palette of styles and inspirational sources. As such, “Walpyrgus Nights” displays a variety of songs and interpretations with the melodic sense as the common factor. Overall, the band's approach is rather mild and modest and layered with matching twin guitar leads, and double sung / dubbed, melodic-laden upper mid-range vocals with an occasional, subtle roughness to it. Style wise, Walpyrgus hoover in between European style Metal and PowerMetal with traces of the Symphonic and NWOBHM thing. Music has a cheerful appearance with a good lot of anthemic, shout / sing along themes, most evidently being the German Metal esque “Dead Of The Night”, and the similar styled, upbeat (Power)Metaler “Somewhere Under Summerwind”. “Walpyrgus Nights” sports the same cheerful theme, but is surrounded by a 'happy' dark mood and a lethargic drive that accelerates towards the end. The NWOBHM elements is pushed forward on the rhythmic Metaler “Palmystry” - that is sauced with plenty of Thin Lizzy styled twin guitars – and “She Lives”; a light format, melodic PowerMetal number with a nice hook of the classic piece “Canon” in the guitar department. More neo-classical guitar flash pops up on the symphonic / melodic phased PowerMetaler that is “Lauralone” that is layered with guitar harmonies. A bit of an odd one in, but ranking as one of the inspirational sourced numbers is the “Dead Girls”; a chord-riffed up-tempo Rocker with a Pop-Punk ish undertone that sounds like The Ramones – meets – Helloween – meets Billy Idol. A far better match with the all-round concept is the band's take on the Witch Cross classic “The Light Of A Torch” although the solo sounds a bit 'broken'. Putting it all together, this is a textbook affair, with a performance that is almost clinical and a concept that tends a little overdone in style variety. Altogether, “Walpyrgus Nights” is a nice and neat collection of entertaining songs with the melodic sense high up.
Paul van der Burght
label: Cruz Del Sur Music http://www.cruzdelsurmusic.com
songs: The Dead Of Night / Somewhere Under Summerwind / Dead Girls / Lauralone / Palmystry / She Lives / Light Of A Torch (Witch Cross cover) / Walpyrgus Nights //
web: https://www.facebook.com/Walpyrgus
North Carolina's Walpyrgus is the incarnation of Twisted Tower Dire members that hooked up with other veteran Metal musicians, merging a diverse palette of styles and inspirational sources. As such, “Walpyrgus Nights” displays a variety of songs and interpretations with the melodic sense as the common factor. Overall, the band's approach is rather mild and modest and layered with matching twin guitar leads, and double sung / dubbed, melodic-laden upper mid-range vocals with an occasional, subtle roughness to it. Style wise, Walpyrgus hoover in between European style Metal and PowerMetal with traces of the Symphonic and NWOBHM thing. Music has a cheerful appearance with a good lot of anthemic, shout / sing along themes, most evidently being the German Metal esque “Dead Of The Night”, and the similar styled, upbeat (Power)Metaler “Somewhere Under Summerwind”. “Walpyrgus Nights” sports the same cheerful theme, but is surrounded by a 'happy' dark mood and a lethargic drive that accelerates towards the end. The NWOBHM elements is pushed forward on the rhythmic Metaler “Palmystry” - that is sauced with plenty of Thin Lizzy styled twin guitars – and “She Lives”; a light format, melodic PowerMetal number with a nice hook of the classic piece “Canon” in the guitar department. More neo-classical guitar flash pops up on the symphonic / melodic phased PowerMetaler that is “Lauralone” that is layered with guitar harmonies. A bit of an odd one in, but ranking as one of the inspirational sourced numbers is the “Dead Girls”; a chord-riffed up-tempo Rocker with a Pop-Punk ish undertone that sounds like The Ramones – meets – Helloween – meets Billy Idol. A far better match with the all-round concept is the band's take on the Witch Cross classic “The Light Of A Torch” although the solo sounds a bit 'broken'. Putting it all together, this is a textbook affair, with a performance that is almost clinical and a concept that tends a little overdone in style variety. Altogether, “Walpyrgus Nights” is a nice and neat collection of entertaining songs with the melodic sense high up.
Paul van der Burght
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STORMTHRASH – 2017 “Systematic Annihilation”
label: private
songs: Incipiens Ad Finem / Don't Learn To Be Corpse / Burn This Town / The Art Of Destruction / Life Of Suffering / Kingdom Of Chaos / Systematic Annihilation / Dark Days / Error Mortal / The End Is Imminent //
web: https://www.facebook.com/StormthrashThrash
First, full-length release by this Venezuela based unit, featuring a blend of energetic and technical edged Thrash 90's style, merging the likes of Forbidden with shades of Testament and Slayer (drummage) with the SpeedMetal twists of Toxik, Forte and WatchTower. The vocalage moves somewhere in between Slayer and Forbidden, delivering a raised, rough vocal tone with a snappy, talk type appearance. In the guitar department, there's some great, all out Thrash riffage with technically edged patterns, cool solo hooks, harmonized melodies, dazzling speed chops and sweep picking summing up the action that occasionally reminds of Cacaphony / Marty Friedman, as evidenced on the intro “Incipiens Ad Finem”, “The Art Of Destruction”. And the Megadeth esque “Error Mortal”. The whole deal is largely riff-oriented, but right underneath shines some superb mobility drummage courtesy of Argenis Betancourt that adds to the WatchTower likeness instrumental wise. Peaking in intensity with a cling towards DeathThrash is one of the album's fastest offerings, “Life Of Suffering”, with matching high-low & reversed riffage. In all, a nuclear performance that ends in style with the bashing, Slayer – meets – Testament alike “The End Is Imminent”. Great!
Paul van der Burght
label: private
songs: Incipiens Ad Finem / Don't Learn To Be Corpse / Burn This Town / The Art Of Destruction / Life Of Suffering / Kingdom Of Chaos / Systematic Annihilation / Dark Days / Error Mortal / The End Is Imminent //
web: https://www.facebook.com/StormthrashThrash
First, full-length release by this Venezuela based unit, featuring a blend of energetic and technical edged Thrash 90's style, merging the likes of Forbidden with shades of Testament and Slayer (drummage) with the SpeedMetal twists of Toxik, Forte and WatchTower. The vocalage moves somewhere in between Slayer and Forbidden, delivering a raised, rough vocal tone with a snappy, talk type appearance. In the guitar department, there's some great, all out Thrash riffage with technically edged patterns, cool solo hooks, harmonized melodies, dazzling speed chops and sweep picking summing up the action that occasionally reminds of Cacaphony / Marty Friedman, as evidenced on the intro “Incipiens Ad Finem”, “The Art Of Destruction”. And the Megadeth esque “Error Mortal”. The whole deal is largely riff-oriented, but right underneath shines some superb mobility drummage courtesy of Argenis Betancourt that adds to the WatchTower likeness instrumental wise. Peaking in intensity with a cling towards DeathThrash is one of the album's fastest offerings, “Life Of Suffering”, with matching high-low & reversed riffage. In all, a nuclear performance that ends in style with the bashing, Slayer – meets – Testament alike “The End Is Imminent”. Great!
Paul van der Burght
SHAKMA – 2018 “House Of Possession”
label: Duplicate records
songs: Blood Ritual / The Mummy's Curse / Spectres Of Death / Deadly Spawn / Midnight Mass / House Of Possession / Ruthless Defiler / Knife Of The Prowler / Into The Fiery Death / Night Of The Coven //
web: https://www.facebook.com/shakmanorway/?fref=ts
Opening tune, “Blood Ritual” indicates what this debut album by Norwegian act Shakma is all about; early 80's Death / Thrash American style with a touch upon Speed Metal, gelling the likes of Possessed, Mantas (pre-Death), Slayer (“Show No Mercy” era) with some European DeathThrash a la Destruction thrown in, as witnessed on “House Of Possession”. The whole deal is fast and snare drummed, minus this one track, “Midnight Mass”; a considerably slower, mid-paced number a la Celtic Frost with rhythmic drummage, chord riffs and Tom Warrior's trademark styled 'ughs' in the vocal department. Another 2 track to take a different turn in concept are the more SpeedMetal oriented Thrashers “Spectres Of Death” and “Knife Of The Prowler”; the latter of which is one of the few tracks with a solo in there. Main element to give the material this DeathThrash appearance is the gaspy and gruff vocalage that largely identifies with Possessed. The riffage is killer and grabs, as are the song themes, delivering an energetic, raw and fairly straight forward brand of classic Death / Thrash. Over against that is the absence of blistering solo action and the fairly unanimous sound of the concept as a whole. Putting it all together, it does work though. Nice.
Paul van der Burght
label: Duplicate records
songs: Blood Ritual / The Mummy's Curse / Spectres Of Death / Deadly Spawn / Midnight Mass / House Of Possession / Ruthless Defiler / Knife Of The Prowler / Into The Fiery Death / Night Of The Coven //
web: https://www.facebook.com/shakmanorway/?fref=ts
Opening tune, “Blood Ritual” indicates what this debut album by Norwegian act Shakma is all about; early 80's Death / Thrash American style with a touch upon Speed Metal, gelling the likes of Possessed, Mantas (pre-Death), Slayer (“Show No Mercy” era) with some European DeathThrash a la Destruction thrown in, as witnessed on “House Of Possession”. The whole deal is fast and snare drummed, minus this one track, “Midnight Mass”; a considerably slower, mid-paced number a la Celtic Frost with rhythmic drummage, chord riffs and Tom Warrior's trademark styled 'ughs' in the vocal department. Another 2 track to take a different turn in concept are the more SpeedMetal oriented Thrashers “Spectres Of Death” and “Knife Of The Prowler”; the latter of which is one of the few tracks with a solo in there. Main element to give the material this DeathThrash appearance is the gaspy and gruff vocalage that largely identifies with Possessed. The riffage is killer and grabs, as are the song themes, delivering an energetic, raw and fairly straight forward brand of classic Death / Thrash. Over against that is the absence of blistering solo action and the fairly unanimous sound of the concept as a whole. Putting it all together, it does work though. Nice.
Paul van der Burght
ALEGNA DEKADENS
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Alegna Dekadens photos above left and right by Janus Photography & Art. Photo editing by Lonstar-Design.
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ALEGNA DEKADENS
Alternative Model from Tyrol, Austria with a characteristic, Mythical sphered portfolio and a liking for bands such as Sargeist, Peste Noir, Deathspell, Omega, Lifelover, Dødsengel, Watain, Mgla, Avsky and Angantyr ALEGNA DEKADENS links: https://www.facebook.com/alegnadekadens https://www.instagram.com/alegna_dekadens photographer link: Janus Photography & Art https://www.facebook.com/janusphotoART/ 
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Alegna Dekadens photos above left and right by Janus Photography & Art
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MEDEN AGAN – 2018 “Catharsis”
label: No Remorse records
songs: Catharsis (Intro) / The Purge / Cleanse Their Sins / No Escape / Whispers In The Dark / 6. Shrine Of Wisdom / Veil Of Faith / Salvation / A Curse Unfolding / Lustful Desires / Weaver Of Destiny //
web: https://www.facebook.com/meden.agan.official
Female fronted Symphonic PowerMetal with a 90's styled Gothic / dramatic edge and instrumentation that, in places, tends towards the Progressive thing. There's a lot of double-bass drummage running underneath it all with the synths usage to 'thicken' the atmosphere. Singer Dimitra Panariti delivers a 'warm' tone, semi-upper range voice with a good, opera-like vibrato, peaking on the dark sphered, Lord Bane esque “Whispers In The Dark”, and the Progressive Power ballad “Salvation”; two of the strongest offerings on the disc, along with the melodic laden “No Escape”. Focal points throughout are the vocalage and the great, virtuoso guitarwork, featuring a lot of flashy chops and speed picking, as well as melodic laden melody lines. Strong album with a great delivery.
Paul van der Burght
label: No Remorse records
songs: Catharsis (Intro) / The Purge / Cleanse Their Sins / No Escape / Whispers In The Dark / 6. Shrine Of Wisdom / Veil Of Faith / Salvation / A Curse Unfolding / Lustful Desires / Weaver Of Destiny //
web: https://www.facebook.com/meden.agan.official
Female fronted Symphonic PowerMetal with a 90's styled Gothic / dramatic edge and instrumentation that, in places, tends towards the Progressive thing. There's a lot of double-bass drummage running underneath it all with the synths usage to 'thicken' the atmosphere. Singer Dimitra Panariti delivers a 'warm' tone, semi-upper range voice with a good, opera-like vibrato, peaking on the dark sphered, Lord Bane esque “Whispers In The Dark”, and the Progressive Power ballad “Salvation”; two of the strongest offerings on the disc, along with the melodic laden “No Escape”. Focal points throughout are the vocalage and the great, virtuoso guitarwork, featuring a lot of flashy chops and speed picking, as well as melodic laden melody lines. Strong album with a great delivery.
Paul van der Burght
RAVAGE – 2017 “Return Of The Spectral Rider”
label: private
songs: Dies Irae / Spectral Rider / Turn The Screw / The Wicked Way / Masque Of Black Death / Ravage Part 1: Damage / Whyvern / Curse Of Heaven / Wake The Dead / The Wasteland / Bring Down The Hellhammer / The King Forgotten / Father Of The Atom //
web: http://www.ravagetheearth.com/
Re-release of the 2005 album by this Boston based unit that have been around since the mid-90's. As such, it does not come as a surprise that their sound is cemented in the classic U.S. Metal / PowerMetal sound with a one-off inclination towards Progressive Metal (“The Wicked Way”), and HardRock down the chord-riffed “The Wasteland”. Overall, music is driven and and up-tempo propelled, with faster moments in the shape of the Headbangers “Whyvern”, “Wake The Dead” and “Bring Down The Hellhammer”. The whole deal is showered with sizzling guitar solos, gripping riffs and double bass-drum action to lay the foundations for the beefy PowerMetak vocals of singer Al 'Ravage' that is one of the main trigger-points that make the band sound somewhere in between Jag Panzer and Y&T, delivering a similar roar and deep tone a la Harry Conklin and a higher pitch and vibrato a la Dave Meniketti. Musically, the comparison also applies with added hints of Priest (“Turn The Screw”), Obsession (“The Wicked Way”, “Masque Of Back Death”) and Maiden (“The King Forgotten”, “Father Of The Atom”). Throughout the set, there is a good sense for structure and the melodic thing without handing in any of its power. “Return Of The Spectral Rider” is one entertaining, high calibre album that is very likely to please a broad spectrum of Metalheads. Strong.
Paul van der Burght
label: private
songs: Dies Irae / Spectral Rider / Turn The Screw / The Wicked Way / Masque Of Black Death / Ravage Part 1: Damage / Whyvern / Curse Of Heaven / Wake The Dead / The Wasteland / Bring Down The Hellhammer / The King Forgotten / Father Of The Atom //
web: http://www.ravagetheearth.com/
Re-release of the 2005 album by this Boston based unit that have been around since the mid-90's. As such, it does not come as a surprise that their sound is cemented in the classic U.S. Metal / PowerMetal sound with a one-off inclination towards Progressive Metal (“The Wicked Way”), and HardRock down the chord-riffed “The Wasteland”. Overall, music is driven and and up-tempo propelled, with faster moments in the shape of the Headbangers “Whyvern”, “Wake The Dead” and “Bring Down The Hellhammer”. The whole deal is showered with sizzling guitar solos, gripping riffs and double bass-drum action to lay the foundations for the beefy PowerMetak vocals of singer Al 'Ravage' that is one of the main trigger-points that make the band sound somewhere in between Jag Panzer and Y&T, delivering a similar roar and deep tone a la Harry Conklin and a higher pitch and vibrato a la Dave Meniketti. Musically, the comparison also applies with added hints of Priest (“Turn The Screw”), Obsession (“The Wicked Way”, “Masque Of Back Death”) and Maiden (“The King Forgotten”, “Father Of The Atom”). Throughout the set, there is a good sense for structure and the melodic thing without handing in any of its power. “Return Of The Spectral Rider” is one entertaining, high calibre album that is very likely to please a broad spectrum of Metalheads. Strong.
Paul van der Burght
NO HOT ASHES – 2018 “No Hot Ashes”
label: Frontiers records
songs: Come Alive / Good To Look Back / Satisfied / Boulders / I’m Back / Glow / Over Again / Jonny Redhead / Souls / Running Red Lights //
Irish Rockers that finally premiered with a debut album, well over 30 years since their inception! Their music however, sounds still as fresh as it was back in the early 80's, presenting a collection of light format, melodic HardRock with a strong U.S. RadioRock / PopRock appearance. The synthesizer is omnipresent but not always upfront or and comes in various appearances with some Hammond-esque modes and piano on the Bluesy foot stomper “Satisfied”. There's a good variety in songs and approach, including a ballad (“Boulders”), HardRock (“Glow”). PompRock (“Souls”), and driving AOR (“Over Again”, “Running Red Lights”) and grooved up Rock (“Johnny Redhead”). Some tasty guitar work throughout and crisp, pitch perfect vocals with a rough edge and a melodic further upgrade this classic rooted album. Neat.
Paul van der Burght
label: Frontiers records
songs: Come Alive / Good To Look Back / Satisfied / Boulders / I’m Back / Glow / Over Again / Jonny Redhead / Souls / Running Red Lights //
Irish Rockers that finally premiered with a debut album, well over 30 years since their inception! Their music however, sounds still as fresh as it was back in the early 80's, presenting a collection of light format, melodic HardRock with a strong U.S. RadioRock / PopRock appearance. The synthesizer is omnipresent but not always upfront or and comes in various appearances with some Hammond-esque modes and piano on the Bluesy foot stomper “Satisfied”. There's a good variety in songs and approach, including a ballad (“Boulders”), HardRock (“Glow”). PompRock (“Souls”), and driving AOR (“Over Again”, “Running Red Lights”) and grooved up Rock (“Johnny Redhead”). Some tasty guitar work throughout and crisp, pitch perfect vocals with a rough edge and a melodic further upgrade this classic rooted album. Neat.
Paul van der Burght
EMPRESS – 2018 “Reminiscence”
label: private
songs: The Offering / Immer / Baptizer / They Speak Like Trees / Dawn //
web: https://thisisempress.bandcamp.com/
Canadian three-piece unit tapping into a thumping mix of 90's MetalCore, Doom, Nordic BlackMetal and Ambient / ProgRock! This makes for one interesting concept that truly is unique and versatile. Each and every song has a different interpretation, meshing fragments of the aforementioned genres. Common factors however are the deep, and largely bass oriented sound, and the heavily delayed, roaring vocals that are mixed in all the way in the back. The set alternates regular song durations with longer, in-depth structures such as the 8+ minute “Immer” (wsporting a cool, Nordic-meets-Ambient hook) and the 9+ minute “They Speak Like Trees”, phasing Doom with the Ambient thing. Different!
Paul van der Burght
label: private
songs: The Offering / Immer / Baptizer / They Speak Like Trees / Dawn //
web: https://thisisempress.bandcamp.com/
Canadian three-piece unit tapping into a thumping mix of 90's MetalCore, Doom, Nordic BlackMetal and Ambient / ProgRock! This makes for one interesting concept that truly is unique and versatile. Each and every song has a different interpretation, meshing fragments of the aforementioned genres. Common factors however are the deep, and largely bass oriented sound, and the heavily delayed, roaring vocals that are mixed in all the way in the back. The set alternates regular song durations with longer, in-depth structures such as the 8+ minute “Immer” (wsporting a cool, Nordic-meets-Ambient hook) and the 9+ minute “They Speak Like Trees”, phasing Doom with the Ambient thing. Different!
Paul van der Burght
HEADBANGER – 2017 “First To Fight”
label: private
songs: First To Fight / All We Want / Barracuda / Into The Fire / Livin' In Hell / Voices Within/ Keep On Walkin' / Day Of The Rope / Ready To Strike
web: https://www.facebook.com/headbangerpoland
Debut album by thisPolish atc, delivering a brand of straight forward, no frills, early 80's inspired Euro HardRock / Metal that is chord riffed, mainly mid / up-tempo driven and dressed with shout along refrains. Think a mix of Accept, Budgie,Ted Nugent and Picture with an occasional swing towards the Swedish Metal sound on two of the fastest moments on the disc; the semi-Headbangers “Barracuda” and “Day Of The Rope” (hinting at Bitch). Headbanger have a functional singer with a good, upper mid-range tone and a rough edge. Overall, things are played 'carefully' with no real sparks flying off it, but it grooves in a honest, unpolished way, as evidenced on the up-tempo “Into The Fire”. Not the most convincing or mature performance, but it has this honesty and feel of the classic Euro HR / Metal sound. In addition, this albums is just easy on the the ear and simply grows on you after a spin or two. its got the solos, its got the feel and its got the album cover that make this album one that fits right in to your classic HardRock / Metal collection. “Fist To Fight” is one entertaining album that gets better with every song, ending on a high with the bare-knuckle Euro Headbanger / early SpeedMetal type “Ready To Strike” with hints of Metallica's “Metal Militia” in the back. Cool.
Paul van der Burght
label: private
songs: First To Fight / All We Want / Barracuda / Into The Fire / Livin' In Hell / Voices Within/ Keep On Walkin' / Day Of The Rope / Ready To Strike
web: https://www.facebook.com/headbangerpoland
Debut album by thisPolish atc, delivering a brand of straight forward, no frills, early 80's inspired Euro HardRock / Metal that is chord riffed, mainly mid / up-tempo driven and dressed with shout along refrains. Think a mix of Accept, Budgie,Ted Nugent and Picture with an occasional swing towards the Swedish Metal sound on two of the fastest moments on the disc; the semi-Headbangers “Barracuda” and “Day Of The Rope” (hinting at Bitch). Headbanger have a functional singer with a good, upper mid-range tone and a rough edge. Overall, things are played 'carefully' with no real sparks flying off it, but it grooves in a honest, unpolished way, as evidenced on the up-tempo “Into The Fire”. Not the most convincing or mature performance, but it has this honesty and feel of the classic Euro HR / Metal sound. In addition, this albums is just easy on the the ear and simply grows on you after a spin or two. its got the solos, its got the feel and its got the album cover that make this album one that fits right in to your classic HardRock / Metal collection. “Fist To Fight” is one entertaining album that gets better with every song, ending on a high with the bare-knuckle Euro Headbanger / early SpeedMetal type “Ready To Strike” with hints of Metallica's “Metal Militia” in the back. Cool.
Paul van der Burght
SEAX – 2017 “Speed Metal Mania” / “To The Grave”
label: Iron Shield records
songs: I: Speed Metal Mania / Forged By Metal / Leather And Spikes / Fall To The Hammer / Wastelands / Doomsday Society / Nuclear Overdose / Evil Mistress / Possessed By The Axe / Speed Forever //
II: To The Grave / Oldskull / Forces Of Hell / Speed Psycho / Crush Your Enemies / Lamentations Of Their Women / Ready To Strike / Maniac / Drink, F*ck And Die //
web: https://www.facebook.com/seaxmetal/
This album couples the 2016 “To The Grave” and the 2014 “Speed Metal Mania” albums, respectively, their second and third full lengther that are now re-released through Iron Shield records. The “Speed Metal Mania” album moves in a high speed, engaging some snare driven, rhythm riffed early 80's type SpeedMetal with a strong Metallica taste in both riffage and concept, highlighted on “Forged By Metal” (hinting at “Metal Malisha”). In addition, Seax toys 80's HardCore Metal features on display down the Warfare meets Onslaught esque “Leather And Spikes” ,”Fall To The Hammer” and “Evil Mistress”. Some nice, balanced guitar action throughout with the occasional twin harmonies thrown in there. The vocalage is mildly rough edged and talk type with siren yells and screams in the Onslaught vein.
The “To The Grave” album shows a more advanced, less demo-style appearance with a thicker production and a deeper, more muscular vocal style. Music still has the MetalPunk / HardCore feel in the guitar department and in overall approach with the 'deeper' sound referencing Canadian speedsters Razor on more than one occasion, and highlighted on “Oldskull”. In comparison to the fairly unanimous set on the “Speed Metal Mania” album, the concept on “To The Grave” is more diversified, with songs that step away from the main, HardCore PunkMetal riffage, such as the rather versatile riff layered “Speed Psycho”, the NWOBHM twin riffed “Lamentations Of Their Women”,and the first part of “Crush Your Enemies”. Overall, Seax opts for a no-nonsense, pure approach of the SpeedMetal genre the way it was implemented in the mid 80's. Nice
Paul van der Burght
label: Iron Shield records
songs: I: Speed Metal Mania / Forged By Metal / Leather And Spikes / Fall To The Hammer / Wastelands / Doomsday Society / Nuclear Overdose / Evil Mistress / Possessed By The Axe / Speed Forever //
II: To The Grave / Oldskull / Forces Of Hell / Speed Psycho / Crush Your Enemies / Lamentations Of Their Women / Ready To Strike / Maniac / Drink, F*ck And Die //
web: https://www.facebook.com/seaxmetal/
This album couples the 2016 “To The Grave” and the 2014 “Speed Metal Mania” albums, respectively, their second and third full lengther that are now re-released through Iron Shield records. The “Speed Metal Mania” album moves in a high speed, engaging some snare driven, rhythm riffed early 80's type SpeedMetal with a strong Metallica taste in both riffage and concept, highlighted on “Forged By Metal” (hinting at “Metal Malisha”). In addition, Seax toys 80's HardCore Metal features on display down the Warfare meets Onslaught esque “Leather And Spikes” ,”Fall To The Hammer” and “Evil Mistress”. Some nice, balanced guitar action throughout with the occasional twin harmonies thrown in there. The vocalage is mildly rough edged and talk type with siren yells and screams in the Onslaught vein.
The “To The Grave” album shows a more advanced, less demo-style appearance with a thicker production and a deeper, more muscular vocal style. Music still has the MetalPunk / HardCore feel in the guitar department and in overall approach with the 'deeper' sound referencing Canadian speedsters Razor on more than one occasion, and highlighted on “Oldskull”. In comparison to the fairly unanimous set on the “Speed Metal Mania” album, the concept on “To The Grave” is more diversified, with songs that step away from the main, HardCore PunkMetal riffage, such as the rather versatile riff layered “Speed Psycho”, the NWOBHM twin riffed “Lamentations Of Their Women”,and the first part of “Crush Your Enemies”. Overall, Seax opts for a no-nonsense, pure approach of the SpeedMetal genre the way it was implemented in the mid 80's. Nice
Paul van der Burght
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HELLFIRE – 2017 “Free Again”
songs: Free Again / City Ablaze / Live Forever / Wheels Of Fate / Beyond Nightmares / The Dealer / Destroyers / End of Days //
web: https://www.facebook.com/hellfiremetalSF http://www.hellfiremetal.com/
Follow-up to the 2016 “Metal Masses” debut, delivering a classic brand of Heavy Metal and very early style (Euro Metal inspired U.S) SpeedMetal that is showered with NWOBM hooks (“Destroyers”) and twin melodies with a strong Maiden flavour. This is most evident on opening tune “Free Again” and “City Ablaze”. Band turns towards the U.S adaptation of the Euro-Metal thing down the Savage Grace esque semi-Speedmetaler “Beyond Nightmares” and the Hallows Eve – meets Overkill tinged “The Dealer”. Overall, songs have a lot of impact and grip right from the start with a brilliant, upper range vocal roar, delivered by frontman Jake Nunn. Sticky songs, textbook performanc, great album.
Paul van der Burght
songs: Free Again / City Ablaze / Live Forever / Wheels Of Fate / Beyond Nightmares / The Dealer / Destroyers / End of Days //
web: https://www.facebook.com/hellfiremetalSF http://www.hellfiremetal.com/
Follow-up to the 2016 “Metal Masses” debut, delivering a classic brand of Heavy Metal and very early style (Euro Metal inspired U.S) SpeedMetal that is showered with NWOBM hooks (“Destroyers”) and twin melodies with a strong Maiden flavour. This is most evident on opening tune “Free Again” and “City Ablaze”. Band turns towards the U.S adaptation of the Euro-Metal thing down the Savage Grace esque semi-Speedmetaler “Beyond Nightmares” and the Hallows Eve – meets Overkill tinged “The Dealer”. Overall, songs have a lot of impact and grip right from the start with a brilliant, upper range vocal roar, delivered by frontman Jake Nunn. Sticky songs, textbook performanc, great album.
Paul van der Burght
SINDRYM ANATHEMA
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Above left: Sindrym Anathema photo by Scott Stallings. Above right: Sindrym Anathema photo by Precious Remains
SINDRYM ANATHEMA
Based near the swamps of South Carolina, model and designer Sindrym Anathema weaves together dark fashion and Gothic fantasy to bring you her captivating imagery. She opened her web-based jewelry store, Precious Remains, in 2015 and has since been modeling her own handmade work, which has expanded to include ornate statement necklaces, headdresses, and costume accessories. Currently, she is partnered with fellow artist, Scott Stallings, and together they are creating their own costumes, props, and practical effects for shoots that are sure to conjure the realm of myth and magic into the waking world.
Sindrym's bands of choice include Bathory, Ghost, Nightwish, Eternal Tears of Sorrow, Rotting Christ, Eluveitie, and Wintersun.
SINDRYM ANATHEMA links: https://www.facebook.com/SindrymAnathema/ https://www.facebook.com/preciousremainsdesigns/
photographer links:
Scott Stallings: https://www.instagram.com/prophecy_goat_artist/
Precious Remains: https://www.facebook.com/preciousremainsdesigns/
Chris Alexander: (https://www.facebook.com/mbeachphotochris/
Based near the swamps of South Carolina, model and designer Sindrym Anathema weaves together dark fashion and Gothic fantasy to bring you her captivating imagery. She opened her web-based jewelry store, Precious Remains, in 2015 and has since been modeling her own handmade work, which has expanded to include ornate statement necklaces, headdresses, and costume accessories. Currently, she is partnered with fellow artist, Scott Stallings, and together they are creating their own costumes, props, and practical effects for shoots that are sure to conjure the realm of myth and magic into the waking world.
Sindrym's bands of choice include Bathory, Ghost, Nightwish, Eternal Tears of Sorrow, Rotting Christ, Eluveitie, and Wintersun.
SINDRYM ANATHEMA links: https://www.facebook.com/SindrymAnathema/ https://www.facebook.com/preciousremainsdesigns/
photographer links:
Scott Stallings: https://www.instagram.com/prophecy_goat_artist/
Precious Remains: https://www.facebook.com/preciousremainsdesigns/
Chris Alexander: (https://www.facebook.com/mbeachphotochris/
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Above left: Sindrym Anathema photo by Chris Alexander / CA Photo. Above right: Sindrym Anathema photo by Precious Remains
HIGH COMMAND – 7”EP 2018 “The Premordial Void”
label: Haftvad records
songs: The Premordial Void / Labyrinth Of Pain //
web: https://highcommand.bandcamp.com/
Massachusetts based band that debuted in 2016 with “The Secartha Demos”. Their most recent work couples 2 tracks of intense, old school DeathMetal / DeathThrash with very heavy, grinding Thrash guitars. First one up, “The Premordial Void” sounds like a mishmash of Whiplash, Slayer and Sodom; fast and relentless with gruff, talk-type growl vocals. “Labyrinth Of Pain” tends towards classic Swedish DeathMetal dressed with DeathThrash styled vocals and slower, Thrash oriented mid-tempos alongside its fast programming, This is one harsh, in-the-face offering that comes with a matching, razor sharp production and some good, mobility drummage. Solid.
Paul van der Burght
label: Haftvad records
songs: The Premordial Void / Labyrinth Of Pain //
web: https://highcommand.bandcamp.com/
Massachusetts based band that debuted in 2016 with “The Secartha Demos”. Their most recent work couples 2 tracks of intense, old school DeathMetal / DeathThrash with very heavy, grinding Thrash guitars. First one up, “The Premordial Void” sounds like a mishmash of Whiplash, Slayer and Sodom; fast and relentless with gruff, talk-type growl vocals. “Labyrinth Of Pain” tends towards classic Swedish DeathMetal dressed with DeathThrash styled vocals and slower, Thrash oriented mid-tempos alongside its fast programming, This is one harsh, in-the-face offering that comes with a matching, razor sharp production and some good, mobility drummage. Solid.
Paul van der Burght
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INDICA BLUES – 2018 “Hymns For A Dying Realm”
label: private
songs: Cosmic Flare / Knight's Return / Reigns End / Scum River / Pearls In The Ash / Island Of Hate / Psychedelic Haze //
web: https://www.facebook.com/Indicabluesuk
Newest outlet by these UK based, traditional Doomsters, delivering an album chock full of thick, Sabbath-esque slow-motion riffs (“Cosmic Flare” and “Pearls In The Ash” in particular), downtoned grooves and lethargic, Stoner type, word for word vocals in a (low) mid-range tone that is dressed with a mild melancholy. Songs grip instantly and entertain over song durations that average the 4 minute mark with closing tune, “Psychedelic Haze” doubling up to a chunky 9+ minutes. The grooved up repetition of the riffage tends to have some sort of hypnotic effect, as evidenced on the bobbing “Knight's Return” and fragments of “Island Of Hate”, whilst “Reigns End” has the groove-factor high up over a driven, mid-tempo beat for most of the time. Indica Blues are not too cold and Doomy, and neither too trippy or Stoner; and all this without sounding light format, making “Hymns For A Dying Realm” appeal to a broad spectrum of listeners. Cool.
Paul van der Burght
label: private
songs: Cosmic Flare / Knight's Return / Reigns End / Scum River / Pearls In The Ash / Island Of Hate / Psychedelic Haze //
web: https://www.facebook.com/Indicabluesuk
Newest outlet by these UK based, traditional Doomsters, delivering an album chock full of thick, Sabbath-esque slow-motion riffs (“Cosmic Flare” and “Pearls In The Ash” in particular), downtoned grooves and lethargic, Stoner type, word for word vocals in a (low) mid-range tone that is dressed with a mild melancholy. Songs grip instantly and entertain over song durations that average the 4 minute mark with closing tune, “Psychedelic Haze” doubling up to a chunky 9+ minutes. The grooved up repetition of the riffage tends to have some sort of hypnotic effect, as evidenced on the bobbing “Knight's Return” and fragments of “Island Of Hate”, whilst “Reigns End” has the groove-factor high up over a driven, mid-tempo beat for most of the time. Indica Blues are not too cold and Doomy, and neither too trippy or Stoner; and all this without sounding light format, making “Hymns For A Dying Realm” appeal to a broad spectrum of listeners. Cool.
Paul van der Burght
IRON KOBRA – 7”EP 2018 “Kerker Und Drachen”
label: Dying Victims productions
songs: Kerker Und Drachen / Schall Und Rausch //
web: http://www.ironkobra.de
Newest work of this German 'Heavy / SpeedMetal' act that sports a solid catalogue of releases that date back to 2009. This 2-songer is entirely sung in native (German) tonge and spins off with a classic, mid-80's German style Headbanger; an attempt that is largely brought down by the flaky, non-steady vocals. Flipside tune “Schall Und Rausch towers high above the opening tune in both concept and vocalage, addressing to a classic, HardRock riffed style a la old Scorpions with Headbanger / SpeedMetal modes and a shout along refrain. Overall, this 7-incher is a fairly unpretentious, straight forward Euro Metal affair put together as a tribute to classic, native tongue German bands, but frankly, Iron Kobra has done far better on previous outings with their own concept. Fair.
Paul van der Burght
label: Dying Victims productions
songs: Kerker Und Drachen / Schall Und Rausch //
web: http://www.ironkobra.de
Newest work of this German 'Heavy / SpeedMetal' act that sports a solid catalogue of releases that date back to 2009. This 2-songer is entirely sung in native (German) tonge and spins off with a classic, mid-80's German style Headbanger; an attempt that is largely brought down by the flaky, non-steady vocals. Flipside tune “Schall Und Rausch towers high above the opening tune in both concept and vocalage, addressing to a classic, HardRock riffed style a la old Scorpions with Headbanger / SpeedMetal modes and a shout along refrain. Overall, this 7-incher is a fairly unpretentious, straight forward Euro Metal affair put together as a tribute to classic, native tongue German bands, but frankly, Iron Kobra has done far better on previous outings with their own concept. Fair.
Paul van der Burght
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THUNDERSLAVE – EP 2017 / 2018 “Thunderslave”
label: private (4 track EP) / Hoove Child records / Underground Power records (CD EP)
songs: Riot Attack / Call Of The Wild / Edge Of The Road / Thunderslave / After Midnight / Trial By Fire //
web: https://thunderslave.bandcamp.com/
Thunderslave are a Monterrey, Mexico based NWOTHM unit that is said to draw its influences from both traditional bands such as Iron Maiden, Grimreaper and Oz, as well as New Generation Old School acts such as Enforcer, Night Demon and White Wizzard. Their debut EP, released on Hoove Child records, is one fine piece of 80's Metal / Speed with the moderately fast Headbanger “Riot Attack” delivering some classic Euro-Metal with shades of Iron Maiden in the rhythm section. “Call Of The Wild” is a more intense, SpeedMetal minded track with the snappy, upper mid-range vocal roar of singer / guitarist Carlos Wild adding up to the Nuclear Assault – alike features and appearance. The mid-paced and repetitive riff-based “Edge Of The Road” sounds much like a Thrust – Thin Lizzy get together with the vocals snarling in the Thrust styles, and the HardRock oriented riffage going down the Thin Lizzy's “Thunder And Lightning” route. The furthers with the upped Metaler “Thunderslave”, sporting some galloping Maiden modes in the long, instrumental mid-section, partnering a Omen-esque riff (a la “Torture Me”) as the main / opening theme. Next is is “After Midnight”; a more U.S oriented early style SpeedMetaler somewhere in between Savage Grace and Omen with a sharp melody riff, pounding double-bass drummed hooks and high-up falsetto vocals. The disc concludes with a Thunderslave take on the Satan classic “Trial By Fire”. In all, a nicely diversified and enjoyable slab of old-school Metal / SpeedMetal.
Paul van der Burght
specs: original 2017 private press with 4 songs. 2018 re-issue version on Hoove Child recorda and Underground Power records with 2 additional songs: “After Midnight” & “Trial By Fire”
label: private (4 track EP) / Hoove Child records / Underground Power records (CD EP)
songs: Riot Attack / Call Of The Wild / Edge Of The Road / Thunderslave / After Midnight / Trial By Fire //
web: https://thunderslave.bandcamp.com/
Thunderslave are a Monterrey, Mexico based NWOTHM unit that is said to draw its influences from both traditional bands such as Iron Maiden, Grimreaper and Oz, as well as New Generation Old School acts such as Enforcer, Night Demon and White Wizzard. Their debut EP, released on Hoove Child records, is one fine piece of 80's Metal / Speed with the moderately fast Headbanger “Riot Attack” delivering some classic Euro-Metal with shades of Iron Maiden in the rhythm section. “Call Of The Wild” is a more intense, SpeedMetal minded track with the snappy, upper mid-range vocal roar of singer / guitarist Carlos Wild adding up to the Nuclear Assault – alike features and appearance. The mid-paced and repetitive riff-based “Edge Of The Road” sounds much like a Thrust – Thin Lizzy get together with the vocals snarling in the Thrust styles, and the HardRock oriented riffage going down the Thin Lizzy's “Thunder And Lightning” route. The furthers with the upped Metaler “Thunderslave”, sporting some galloping Maiden modes in the long, instrumental mid-section, partnering a Omen-esque riff (a la “Torture Me”) as the main / opening theme. Next is is “After Midnight”; a more U.S oriented early style SpeedMetaler somewhere in between Savage Grace and Omen with a sharp melody riff, pounding double-bass drummed hooks and high-up falsetto vocals. The disc concludes with a Thunderslave take on the Satan classic “Trial By Fire”. In all, a nicely diversified and enjoyable slab of old-school Metal / SpeedMetal.
Paul van der Burght
specs: original 2017 private press with 4 songs. 2018 re-issue version on Hoove Child recorda and Underground Power records with 2 additional songs: “After Midnight” & “Trial By Fire”
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NIGHTBREED – 2018 “Beyond Inferno”
label: Witches Brew
songs: Chained To The Nightmare (intro) / Beyond Inferno / Psychotic Crime / Graves Below / Ripped By Chains / Coven Of The Soulless / Infinite Space...Infinite Terror / Prowling Evil / The Lynching / Human Sacrifice //
web: https://nightbreedofficial.bandcamp.com/
Throwback to 80's DeathThrash / Speed with a strong Destruction taste throughout. This is clearly evidenced on the titletrack “Beyond Inferno”, rolling on crisp mobility Thrash riffage, a fast, snare drummed drive and gruff, talk type vocalage a la Schmier (Destruction). Paused with slower, rhtyhmic passages, songs are all speed driven, and riff-dominated with the ferocious, slightly Testament infused “Graves Below”, and the early Slayer shaded “Coven Of The Soulless” as one of the fastest picks of the set. Excellent!
Paul van der Burght
label: Witches Brew
songs: Chained To The Nightmare (intro) / Beyond Inferno / Psychotic Crime / Graves Below / Ripped By Chains / Coven Of The Soulless / Infinite Space...Infinite Terror / Prowling Evil / The Lynching / Human Sacrifice //
web: https://nightbreedofficial.bandcamp.com/
Throwback to 80's DeathThrash / Speed with a strong Destruction taste throughout. This is clearly evidenced on the titletrack “Beyond Inferno”, rolling on crisp mobility Thrash riffage, a fast, snare drummed drive and gruff, talk type vocalage a la Schmier (Destruction). Paused with slower, rhtyhmic passages, songs are all speed driven, and riff-dominated with the ferocious, slightly Testament infused “Graves Below”, and the early Slayer shaded “Coven Of The Soulless” as one of the fastest picks of the set. Excellent!
Paul van der Burght
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MANDRAGORA – 2017 “Waves Of Steel”
label: Inferno records
songs: Waves Of Steel / Dead Souls / Siren / Hell Night / Demon Owl / Abraxier / Planet Of The Silver Crown / Steel Metal / Someone //
web: www.facebook.com/MandragoraSteelMetal
Female fronted outfit doing some 80's Euro Metal with a melodic undertone that is mostly channelled through the NWOBHM esque twin harmonies. The band shows certain similarities to Accept, most evidently on the driven “Dead Souls”, the mid-paced and chord riffed “Hell Night”and the up-tempo HardRock / Metaler “Demon Owl”. The set occasionally leans towards PowerMetal, gauging the galloping “Siren” and the slightly Modern Metal tinged “Abraxier”; two of the heavier / faster picks on the disc, along with “Planet Of The Silver Crown”. The upper mid-range vocals are quite distinctive though a bit 'exaggerated' and not entirely pitch perfect. The instrumentation is good and functional but somehow limited by the rather static nature of the songs. The whole thing would benefit from a more dynamic approach and production as the concept is there allright. Fair.
Paul van der Burght
label: Inferno records
songs: Waves Of Steel / Dead Souls / Siren / Hell Night / Demon Owl / Abraxier / Planet Of The Silver Crown / Steel Metal / Someone //
web: www.facebook.com/MandragoraSteelMetal
Female fronted outfit doing some 80's Euro Metal with a melodic undertone that is mostly channelled through the NWOBHM esque twin harmonies. The band shows certain similarities to Accept, most evidently on the driven “Dead Souls”, the mid-paced and chord riffed “Hell Night”and the up-tempo HardRock / Metaler “Demon Owl”. The set occasionally leans towards PowerMetal, gauging the galloping “Siren” and the slightly Modern Metal tinged “Abraxier”; two of the heavier / faster picks on the disc, along with “Planet Of The Silver Crown”. The upper mid-range vocals are quite distinctive though a bit 'exaggerated' and not entirely pitch perfect. The instrumentation is good and functional but somehow limited by the rather static nature of the songs. The whole thing would benefit from a more dynamic approach and production as the concept is there allright. Fair.
Paul van der Burght
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HOOFMARK – 2017 “Stoic Winds”
label: Ultraje
songs: Yours Should Be A Heavy Casket / Amongst A Sea Of Darkness / Stoic Winds / Dust Trails / Dust Trails Blazing / An Arrow Long Due / From The Foot Of God's Throne / Horror Maximus / Hoofmarks //
web: https://www.facebook.com/hoofmarkofficial/
Debut album by Portugese one man project Hoofmark that is said to draws its inspiration from old-school BlackMetal acts such as Mayhem and Bathory. Hellhammer / early Celtic Frost could easily be added to this list, referring to its titletrack, “Dust Trails Blazing”, “An Arrow Long Due” and “From the Foot Of God's Throne”. Hoofmark has cleverly incorporated bits and pieces of these influences that have been given an own swing or twist by slipping in Nordic , Stoner and Ambient elements. Things get really contrasting with the non-matching, regular / Alternative voiced, and off-key acoustic oriented “Dust Trails”. More off-key guitars and vocalage down “Dust Trails Blazing” that has those wonky regular toned vocals re-appearing over mild, Hellhammer esque guitars and classic BlackMetal programming a la Bathory. The set as a whole is fairly straight forward with lots of 'primitive' / static snare-drummed drives. To accommodate the more BlackMetal minded moments, the vocals go into a raspy growl mode that, in places reminds of Tom Warrior, whilst there is also the addition of female chants in there somewhere. Quite an uncommon mix, that does work for the greater part of the album though. Interesting.
Paul van der Burght
label: Ultraje
songs: Yours Should Be A Heavy Casket / Amongst A Sea Of Darkness / Stoic Winds / Dust Trails / Dust Trails Blazing / An Arrow Long Due / From The Foot Of God's Throne / Horror Maximus / Hoofmarks //
web: https://www.facebook.com/hoofmarkofficial/
Debut album by Portugese one man project Hoofmark that is said to draws its inspiration from old-school BlackMetal acts such as Mayhem and Bathory. Hellhammer / early Celtic Frost could easily be added to this list, referring to its titletrack, “Dust Trails Blazing”, “An Arrow Long Due” and “From the Foot Of God's Throne”. Hoofmark has cleverly incorporated bits and pieces of these influences that have been given an own swing or twist by slipping in Nordic , Stoner and Ambient elements. Things get really contrasting with the non-matching, regular / Alternative voiced, and off-key acoustic oriented “Dust Trails”. More off-key guitars and vocalage down “Dust Trails Blazing” that has those wonky regular toned vocals re-appearing over mild, Hellhammer esque guitars and classic BlackMetal programming a la Bathory. The set as a whole is fairly straight forward with lots of 'primitive' / static snare-drummed drives. To accommodate the more BlackMetal minded moments, the vocals go into a raspy growl mode that, in places reminds of Tom Warrior, whilst there is also the addition of female chants in there somewhere. Quite an uncommon mix, that does work for the greater part of the album though. Interesting.
Paul van der Burght
INTERVIEW HOOFMARK / MANIC MOSH METAL
Manic Mosh Metal: Since Hoofmark is a one-man project, what is your musical background and how did it morph into what is now Hoofmark?
Hoofmark / Nuno Ramos: I was raised on Metal. Not always good Metal (there was a dark age there for sure), but heavy music has always been with me in one way or another. Looking back, I suppose you could say it was my father who got me hooked in the beginning. The usual suspects: Deep Purple, Led Zeppelin, Black Sabbath… He also introduced me to Metallica actually and that was my favorite band for a long time during high school. But once I found out about Bathory (10th or 11th grade or something) everything changed. HOOFMARK only came to me when I was well into my 20's. I attempted to get a one-man thing going at a younger age (mixing Burzum with 80's Thrash), but it never really took off. After that I spent some years disenchanted with the idea of playing music (or listening to metal for that matter…) and it took finding out about things like Dylan Hughes’ A Fist in the Face of God radio show and later starting a Metal show of my own with a friend (that’s Satan Made Me Do It) to get tangled up again. The more I looked to the past, the 80's especially, the more I realized there were so many magical things I had missed – and dearly loved. Poison from Germany, Slaughter Lord, Obscurity, Tormentor, Mefisto… Anyway, it was pretty crazy to be a 20-something and doing a one-person project, because at that point I had forgotten the little I knew about playing guitar. To call it a maddening experience is saying little. And to make matters worse, along that journey I realized there was something about particular brands of Blues and Country (the Texas Blues especially) that sparked the same enthusiasm in me Metal did. So there were many instances of re-evaluation of the project’s stance and musical language and whatnot. Figuring out just what HOOFMARK was and what I could do with it was a terrifying process. Yet presently I’m thrilled with the many possibilities it holds. That’s the best outcome I could ask for.
MMM: As you outlined, your music is a daring mix of genres, phasing old-School Back Metal with the Nordic, Stoner and Ambient thing, and is really pushing it with an obnoxious, Alternative styled twist as evidenced on “Dust Trails”... what made you incorporate such a contrasting feature?
Nuno: There certainly are crazier beasts out there if you know where to look. Maybe that’s why I never really figured I was taking things too far. It’s an uncommon mix for sure and in respect to “Stoic Winds” a bit of a Frankenstein’s monster at times, but considering that this was a demo release I felt there was no better moment than this to get as many things in there as I could and just letting listeners in on this formative work. Also, because this was such a time and resource-consuming affair I simply didn’t know if I would have a chance to do it again, especially without support. So if this was to be a one-time thing then I might as well get it all out. Of course, I want to continue the work. Things clicked for me with “Stoic Winds” and I can’t say for sure if it was intentional or not, but I can say it’s a good place to be in order to keep on travelling. The way I see it now, the demo sees a person looking to develop his own style and trying to find a place to drop his hat. My wish for the album I’m working on is to organically combine a fresh brand of caveman old-school Black Metal (or first wave Black Metal) with the earthly characteristics of the Blues I adore.
MMM: How have fans and listeners reacted to all this?
Nuno: With bewilderment haha That was the one constant thing. People with less of a Metal background and / or people more inclined towards experimentalism or noise accepted the mixture with a greater ease, but that was to be expected. All in all, the reactions have actually been pretty damn great. Judging by reviews and impressions, German listeners seem to be especially fond of the release. I’ll tell you something else: I figured that by now I would have read much more hurtful things than I already have. Not that I’m about to lose hope or anything. There’s always the next album.
MMM: Your musical influences list Mayhem and Bathory, but there is no mention of Hellhammer / early Celtic Frost which clearly surfaces in the vocal department and songs such as “An Arrow Long Due” and “From The Foot Of God's Throne”....
Nuno: Oh, it’s there for sure and it’s not like I’m concealing it or anything. I suppose the distributor made the decision to highlight those two for practical reasons, but if you check the project’s profiles and credits on facebook and bandcamp you’ll see Hellhammer / Celtic Frost ranking very high on my list of influences. Pretty much every time I bend the strings I’m strengthening my commitment to Tom, bless his fingers.
MMM: Portugal always has had this experimental and Punk / HardCore scene. What about the Black / DeathMetal scene, and is there oppertunities for you to play live...
Nuno: Tthere’s plenty of Black Metal here. Good stuff too. Decayed, Irae, Martelo Negro, Morte Incandescente, Corpus Christii, Névoa… “A Era do Abutre” from Filii Nigrantium Infernalium is a big favourite of mine and this project called 'The Sorcerer' released a hell of a record back in 2014. In its current state, HOOFMARK isn’t a live act. I did an acoustic set once in December 2017 to celebrate the CD’s release on Ultraje, but that was a special occasion. Maybe in the future there will me more of these, I don’t know. I could develop a knack for playing Country stuff live and leaving the Metal music for albums. But the thought of turning HOOFMARK into a live thing seems nightmare-ish to me.
MMM: Was the album a home-recording or has it been produced in a professional studio?
Nuno: Both. The process of making “Stoic Winds” took me and the material on a very literal tour around home and professional studios everywhere. The earlier years were nuts. I mean, think about it: a lot of the groundwork for “Stoic Winds” was actually laid down even before 2012 and that’s the year I point out as the year HOOFMARK began. The tape was released in 2016! For a long time, I had no earthly clue if what I was doing was worth a damn to me or anyone else and things just dragged on. It certainly didn’t help that I was faced with a number of setbacks during this expedition. If nothing else, I feel the experience was a humbling and educational one. Professionally and personally speaking. I guess the reason why I so quickly got two more releases out the door (that’s my 2-sided singles “Come Flames” and “Chunks”) was so I could prove to myself I could do stuff quickly too – well, quickly and stress-free.
MMM: Where is Hoofmark most popular, and has there been any other label interest?
Nuno: I have no idea. People from all over have expressed interest in the work and I feel I own a lot to Ultraje for spreading the release so efficiently and truly happy they picked HOOFMARK to debut their label business. As for what the future may hold, I fully expect to get someone interested in releasing the upcoming LP. Time will tell.
MMM: Anything else you'd like to add...
Nuno: Yes, get some Ewan MacColl in ya, worship Mickey Newubury and shatter intolerance to pieces every chance you get. Watch out for more HOOFMARK. Thank you for the support and all the best to MANIC MOSH Magazine.
Manic Mosh Metal: Since Hoofmark is a one-man project, what is your musical background and how did it morph into what is now Hoofmark?
Hoofmark / Nuno Ramos: I was raised on Metal. Not always good Metal (there was a dark age there for sure), but heavy music has always been with me in one way or another. Looking back, I suppose you could say it was my father who got me hooked in the beginning. The usual suspects: Deep Purple, Led Zeppelin, Black Sabbath… He also introduced me to Metallica actually and that was my favorite band for a long time during high school. But once I found out about Bathory (10th or 11th grade or something) everything changed. HOOFMARK only came to me when I was well into my 20's. I attempted to get a one-man thing going at a younger age (mixing Burzum with 80's Thrash), but it never really took off. After that I spent some years disenchanted with the idea of playing music (or listening to metal for that matter…) and it took finding out about things like Dylan Hughes’ A Fist in the Face of God radio show and later starting a Metal show of my own with a friend (that’s Satan Made Me Do It) to get tangled up again. The more I looked to the past, the 80's especially, the more I realized there were so many magical things I had missed – and dearly loved. Poison from Germany, Slaughter Lord, Obscurity, Tormentor, Mefisto… Anyway, it was pretty crazy to be a 20-something and doing a one-person project, because at that point I had forgotten the little I knew about playing guitar. To call it a maddening experience is saying little. And to make matters worse, along that journey I realized there was something about particular brands of Blues and Country (the Texas Blues especially) that sparked the same enthusiasm in me Metal did. So there were many instances of re-evaluation of the project’s stance and musical language and whatnot. Figuring out just what HOOFMARK was and what I could do with it was a terrifying process. Yet presently I’m thrilled with the many possibilities it holds. That’s the best outcome I could ask for.
MMM: As you outlined, your music is a daring mix of genres, phasing old-School Back Metal with the Nordic, Stoner and Ambient thing, and is really pushing it with an obnoxious, Alternative styled twist as evidenced on “Dust Trails”... what made you incorporate such a contrasting feature?
Nuno: There certainly are crazier beasts out there if you know where to look. Maybe that’s why I never really figured I was taking things too far. It’s an uncommon mix for sure and in respect to “Stoic Winds” a bit of a Frankenstein’s monster at times, but considering that this was a demo release I felt there was no better moment than this to get as many things in there as I could and just letting listeners in on this formative work. Also, because this was such a time and resource-consuming affair I simply didn’t know if I would have a chance to do it again, especially without support. So if this was to be a one-time thing then I might as well get it all out. Of course, I want to continue the work. Things clicked for me with “Stoic Winds” and I can’t say for sure if it was intentional or not, but I can say it’s a good place to be in order to keep on travelling. The way I see it now, the demo sees a person looking to develop his own style and trying to find a place to drop his hat. My wish for the album I’m working on is to organically combine a fresh brand of caveman old-school Black Metal (or first wave Black Metal) with the earthly characteristics of the Blues I adore.
MMM: How have fans and listeners reacted to all this?
Nuno: With bewilderment haha That was the one constant thing. People with less of a Metal background and / or people more inclined towards experimentalism or noise accepted the mixture with a greater ease, but that was to be expected. All in all, the reactions have actually been pretty damn great. Judging by reviews and impressions, German listeners seem to be especially fond of the release. I’ll tell you something else: I figured that by now I would have read much more hurtful things than I already have. Not that I’m about to lose hope or anything. There’s always the next album.
MMM: Your musical influences list Mayhem and Bathory, but there is no mention of Hellhammer / early Celtic Frost which clearly surfaces in the vocal department and songs such as “An Arrow Long Due” and “From The Foot Of God's Throne”....
Nuno: Oh, it’s there for sure and it’s not like I’m concealing it or anything. I suppose the distributor made the decision to highlight those two for practical reasons, but if you check the project’s profiles and credits on facebook and bandcamp you’ll see Hellhammer / Celtic Frost ranking very high on my list of influences. Pretty much every time I bend the strings I’m strengthening my commitment to Tom, bless his fingers.
MMM: Portugal always has had this experimental and Punk / HardCore scene. What about the Black / DeathMetal scene, and is there oppertunities for you to play live...
Nuno: Tthere’s plenty of Black Metal here. Good stuff too. Decayed, Irae, Martelo Negro, Morte Incandescente, Corpus Christii, Névoa… “A Era do Abutre” from Filii Nigrantium Infernalium is a big favourite of mine and this project called 'The Sorcerer' released a hell of a record back in 2014. In its current state, HOOFMARK isn’t a live act. I did an acoustic set once in December 2017 to celebrate the CD’s release on Ultraje, but that was a special occasion. Maybe in the future there will me more of these, I don’t know. I could develop a knack for playing Country stuff live and leaving the Metal music for albums. But the thought of turning HOOFMARK into a live thing seems nightmare-ish to me.
MMM: Was the album a home-recording or has it been produced in a professional studio?
Nuno: Both. The process of making “Stoic Winds” took me and the material on a very literal tour around home and professional studios everywhere. The earlier years were nuts. I mean, think about it: a lot of the groundwork for “Stoic Winds” was actually laid down even before 2012 and that’s the year I point out as the year HOOFMARK began. The tape was released in 2016! For a long time, I had no earthly clue if what I was doing was worth a damn to me or anyone else and things just dragged on. It certainly didn’t help that I was faced with a number of setbacks during this expedition. If nothing else, I feel the experience was a humbling and educational one. Professionally and personally speaking. I guess the reason why I so quickly got two more releases out the door (that’s my 2-sided singles “Come Flames” and “Chunks”) was so I could prove to myself I could do stuff quickly too – well, quickly and stress-free.
MMM: Where is Hoofmark most popular, and has there been any other label interest?
Nuno: I have no idea. People from all over have expressed interest in the work and I feel I own a lot to Ultraje for spreading the release so efficiently and truly happy they picked HOOFMARK to debut their label business. As for what the future may hold, I fully expect to get someone interested in releasing the upcoming LP. Time will tell.
MMM: Anything else you'd like to add...
Nuno: Yes, get some Ewan MacColl in ya, worship Mickey Newubury and shatter intolerance to pieces every chance you get. Watch out for more HOOFMARK. Thank you for the support and all the best to MANIC MOSH Magazine.
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SAVAGE MASTER – MCD 2017 “Creature Of The Flames”
label: Skol records
songs: Child Of The Witch / Burning Leather / Dark Enchantress / Creature Of The Flames / Death Or Glory //
web: https://www.facebook.com/savagemaster666
Newest work by old-school Metalers Savage Master, showcasing another convincing set of Metal tracks that perfectly replicates the sound and feel of the early - mid 80's. In the centre of attention is the distinctive fiery, talk-type vocalage of Tracy Savage, adding a 'bite' to their Euro-Metal rooted U.S Metal of old. Material is all riff-based with a HardRock / Metal backbone on the mid-paced “Dark Enchantress” and the Holocaust cover “Death Or Glory”. The U.S Metal sound is more prominent down the catchy up-tempo Metaler “Child Of The WItch” and the mobility rhythm riffed Headbanger “Burning Leather” tending to early U.S SpeedMetal. Over against that is the slow, anthemic grinder “Creature Of The Flames” that somehow clicks with Anvil. Another quality release that sounds as pure and genuine as it did back in the 80's.
Paul van der Burght
label: Skol records
songs: Child Of The Witch / Burning Leather / Dark Enchantress / Creature Of The Flames / Death Or Glory //
web: https://www.facebook.com/savagemaster666
Newest work by old-school Metalers Savage Master, showcasing another convincing set of Metal tracks that perfectly replicates the sound and feel of the early - mid 80's. In the centre of attention is the distinctive fiery, talk-type vocalage of Tracy Savage, adding a 'bite' to their Euro-Metal rooted U.S Metal of old. Material is all riff-based with a HardRock / Metal backbone on the mid-paced “Dark Enchantress” and the Holocaust cover “Death Or Glory”. The U.S Metal sound is more prominent down the catchy up-tempo Metaler “Child Of The WItch” and the mobility rhythm riffed Headbanger “Burning Leather” tending to early U.S SpeedMetal. Over against that is the slow, anthemic grinder “Creature Of The Flames” that somehow clicks with Anvil. Another quality release that sounds as pure and genuine as it did back in the 80's.
Paul van der Burght
NIKASAUR
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Above left: Nikasaur photo by Nikasaur. Above right: Nikasaur photo by Divert Images
NIKASAUR
"I’m a walking advertisement for my favourite band; Black Veil Brides. I’m also a Sphynx Mum and I live the Straight Edge life style. A few Metal bands I’m into are Alestorm, Metallica, and Duckling Fantasy."
NIKASAUR links:
https://www.facebook.com/WildOneNikasaur/
https://www.instagram.com/wild_one_nikasaur/
https://twitter.com/wildonenikasaur?lang=en
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Above left: Nikasaur photo by Nikasaur. Above centre: Nikasaur photo by Albert Anthony. Above right: Nikasaur photo by Mike Peril
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RAVENSIRE interview
Portugese act Ravensire first entered the scene in 2012 with the “Iron Will” EP that quickly settled the band in the Epic (Power) Metal regions. The band's catalogue of releases, including 2 EP's, 2 full-length albums and 2 splits, has been decorated with favourable reviews for all the right reasons. The “Tyrant's Dictum” EP was the last recorded work in the line-up that also did the albums “We March Forward” and “The Cycle Never Ends”, paving the way for a new Ravensire team that is now in the process of recording their 2019 planned album. Manic Mosh Metal talks with guitarist Nuno about the past and the present.....
Manic Mosh Metal: How did the band get together and when?
Nuno / Ravensire: We started in 2011, thanks to F who liked so much the ideas I (Nuno – Guitars) had for songs that he went on to learn how to play drums from scratch! After he learned the basics, we started jamming together with Rick (bass) and proceeded to have a couple of songs ready. Since we needed a vocalist (and Rick, back then, wasn’t willing to step up to the task), we invited Zé Mastercrow, an old friend who had been vocalist in a Portuguese 80's band (Wild Shadow) and alongside him came the second guitarist Zé RockHard! As a five-piece we worked on the songs that ended up being our first mini-CD “Iron Will”, released on A Forja Records, a label owned by our greatest friend Francisco, in 2012. After the mini-CD, Zé Mastercrow had to leave the band due to personal reasons and we opted to continue as a 4 piece, with Rick taking care of both vocals and bass. That was the lineup responsible for recording our two albums “We March Forward” (released in 2013 by Eat Metal Records) and “The Cycle Never Ends” (Cruz del Sur 2016).
MMM: Was the Epic (Power) Metal sound there right from the beginning or did it evolve from a different musical style when the band started out.
Nuno: Since the beginning we played raw Heavy Metal with epic overtones! It’s the style that comes naturally to me (as the main songwriter) and the one I end up enjoying the most both as a player and as a listener. Of course, we tend to throw lots of stuff into the mix: from slower, Doomy parts, to faster Thrashy parts. But as a whole, the sound naturally flows into the more epic, pounding territory!
MMM: The current musical concept seems to be largely inspired by 80's U.S Metal acts with traces of Omen, Savatage and Griffin as found on “The Cycle Never Ends” album
Nuno: We don’t limit our inspiration to 80's bands. We follow the scene very closely and look for great bands no matter the decade they come from. Of the examples you cite, I’d say Omen are the closest to our sound. I never found Savatage or Griffin to be a great inspiration on my playing or songwriting. There are other bands that may not be so obvious but from whom I drank lots of ideas like, for example, Holy Terror, Slough Feg, Solstice (the UK one, not the Thrashers), Brocas Helm, of course Iron Maiden and Manowar, Ram and countless others. As I said, we don’t dwell in the “80's euphoria” as I find lots of contemporary bands to be excited about: Terminus, Wrathblade, Eternal Champion, Midnight Priest and I could go on forever ahah!
MMM: As you stated yourself aswell, there's even light hints of Doom incorporated in the set, as witnessed on the slower paced “Blood And Iron”....
Nuno: “Blood and Iron” has Doomy parts, for sure, but it also has speedier parts (like the chorus)! As I said before, we like to have variety not only on our albums, but also within the songs themselves. On our previous releases we had even slower songs, referring to “Stay True Stand Tall” from the mini-CD, or “Gates of Ilion” off the first album “We March Forward”. I don’t think we’ll ever end up being a Doom Metal act, but we’ll keep bringing up Doomy parts because variety is the key!
MMM: How is the Metal scene in Portugal when it comes to playing live, and Metal fans in general..
Nuno: It’s OK, I guess. These last few years we’ve seen more people coming to Heavy Metal shows, but it’s still very far from scenes like the German, Greek or even our neighbours from Spain. Unfortunately, I don’t see too many young people joining the ranks, so I’m not sure how long this will last. As for bands, the scene is quite vibrant with a fair few quality acts ranging from Heavy Metal to Black Metal. A few names off the top of my head: Midnight Priest, Ironsword, Wanderer, Lyzzard, Decayed, Filii Nigrantium Infernalium, Perpetratör, Alkateya, Dawnrider, Shivan, Leather Synn...
MMM: Where is Ravensire most popular?
Nuno: Apart from our country we’ve had lots of internet feedback from the USA, Greece and Germany and also France, where we already played in three different cities and where we’ll probably return next year for a couple more! Speaking of the USA; it’s very interesting to be having so many people from over there digging our sound, as we’re an Ocean away and will probably never have the opportunity to play live over there! But I think our connection with American friends and other bands must have had some influence with word of mouth helping a bit, I guess.
MMM: How did the record deal with Cruz Del Sur come about?
Nuno: I’ve known Cruz Del Sur and Enrico for quite some time! I’ve always enjoyed their releases and find a lot of favourites (Slough Feg) and friends (Atlantean Kodex) over there. After we released our mini-CD “Iron Will”, we were already talking about a possible collaboration for our first album “We March Forward”. Unfortunately, conflicting schedules and Eat Metal Records also being interested delayed the prospect of collaboration with Cruz Del Sur. When we started working on “The Cycle Never Ends”, I asked Enrico again if he was up for it and after listening to a three song demo I sent him, it was very easy to reach an agreement.
MMM: The band parted ways with two of its members (guitarist 'Z' and drummer 'F' that are still heard on the “Tyrant's Dictum” EP. Will the new line-up have any effect on the musical style of the band?
Nuno: Yeah, after 4 great years together we had to part ways with both Zé Rockhard and F. There were no problems whatsoever, simply “real life” rearing its ugly head and robbing free time! In came Mário (guitars) and Alex (drums) and we’ve been playing with this line-up for the last year and a half. I don’t think the new line-up will change the musical style of the band, because they joined the band knowing full well what we are, what we stand for and what our DNA is! I still write most of the new songs, but I encourage everyone else to also present ideas and arrangements!One of the new songs we’re playing was fully composed by Mário, so this is no dictatorship ahah!
MMM: How many originals are there at the moment, and could you name some titles of yet unreleased songs.... Also, is there a new release planned somewhere soon?
Nuno: We’re working on quite a few songs, with the prospect of recording something this year for a 2019 release. We have lots of ideas floating, but so far only 4/5 songs are more or less structured. The first new titles we can disclose are: “Gabriel Lies Sleeping”, “Thieves of Pleasure”, “Under the Sword of Damocles” and “Vault of Mirrors”.
MMM: Anything else you'd like to add...
Nuno: Thanks a lot for this interview and the opportunity to speak about Ravensire! If anyone’s interested, you can check our facebook page http://www.facebook.com/Ravensire or you can go to http://ravensire.bandcamp.com/ or signup for our YouTube channel (user: RavensireEpic)! Stay true!!
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METALEROS
web: www.metaleros.de
Metaleros is a German distro / mailorder and label founded in 2002. Metaleros has an extensive catalogue of Metal vinyls, CD's, books, fanzines, magazines and is entirely dedicated to Underground / Independent Metal from around the globe with a specialist selection of Latin Metal.
web: www.metaleros.de
Metaleros is a German distro / mailorder and label founded in 2002. Metaleros has an extensive catalogue of Metal vinyls, CD's, books, fanzines, magazines and is entirely dedicated to Underground / Independent Metal from around the globe with a specialist selection of Latin Metal.
IRON GRIFFIN – 2017 “Iron Griffin”
label: Gate Of Hell records
songs: Intro / Message From Beyond / Metal Conquest / Journey To The Castle Of King / Lord Inquisitor //
web: https://www.facebook.com/irongriffinmetal/
Side project of Mausoleum Gate drummer and multi-instrumentalist Oskari Räsänen with vocal duties handled by Toni Pentikäinen. The result of this collaboration is a classic mix of NWOBHM, light format Doom and old-school HardRock. The set has quite a few variations to the theme, with Nordic Metal flavourings a la Heavy Load (“Metal Conquest”), and combinations, phasing MF Fate with Bitches Sin (“Lord Inquisitor”) and Liege Lord with Warlord (“Message From Beyond”). Most prominent factor through out are the falsetto, King Diamond esque vocals, peaking on the final cut. Solid
Paul van der Burght
label: Gate Of Hell records
songs: Intro / Message From Beyond / Metal Conquest / Journey To The Castle Of King / Lord Inquisitor //
web: https://www.facebook.com/irongriffinmetal/
Side project of Mausoleum Gate drummer and multi-instrumentalist Oskari Räsänen with vocal duties handled by Toni Pentikäinen. The result of this collaboration is a classic mix of NWOBHM, light format Doom and old-school HardRock. The set has quite a few variations to the theme, with Nordic Metal flavourings a la Heavy Load (“Metal Conquest”), and combinations, phasing MF Fate with Bitches Sin (“Lord Inquisitor”) and Liege Lord with Warlord (“Message From Beyond”). Most prominent factor through out are the falsetto, King Diamond esque vocals, peaking on the final cut. Solid
Paul van der Burght
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STRIKE MASTER – 2017 “Strike Master”
label: private
songs: Follow Me / No Future / Boy In The Hole / As I March / Urban Phantasms / The Mortarist / Anti Aerial Witchhunt Battery / Chant Of Falcons / Machines Of Mercy / Born Horrible //
web: https://www.facebook.com/strikemasterofficial/ http://www.strikemaster.net
Mexican three-piece belting out some late 80's / early 90's Thrash that is quite in-depth and technical laden without sounding Progressive. Most of this is found in the riffage and the mobility of the rhythm section, as witnessed on “Boy In The Hole” and “As I March”. The whole thing sound very intense and raw,most of which is brought in by the raw and aggressive vocalage in the styles of Trust, particularly on “Urban Phantasms” and “Anti Aerial Witchhunt Battery”. Add shades of Megadeth and Iced Earth to this and you have a fair indication of what this album is albout. Different and original.
Paul van der Burght
label: private
songs: Follow Me / No Future / Boy In The Hole / As I March / Urban Phantasms / The Mortarist / Anti Aerial Witchhunt Battery / Chant Of Falcons / Machines Of Mercy / Born Horrible //
web: https://www.facebook.com/strikemasterofficial/ http://www.strikemaster.net
Mexican three-piece belting out some late 80's / early 90's Thrash that is quite in-depth and technical laden without sounding Progressive. Most of this is found in the riffage and the mobility of the rhythm section, as witnessed on “Boy In The Hole” and “As I March”. The whole thing sound very intense and raw,most of which is brought in by the raw and aggressive vocalage in the styles of Trust, particularly on “Urban Phantasms” and “Anti Aerial Witchhunt Battery”. Add shades of Megadeth and Iced Earth to this and you have a fair indication of what this album is albout. Different and original.
Paul van der Burght
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CAMELTOE – 2018 “Up Your Alley”
label: Battlegod productions
songs: Delusional / Screaming My Head Off / Never What It Seems / Tank Command / I Always Cared / Twisted Fister / Coming Home / Devils Soul / Rocky Road / Spread My Wings //
web: https://www.facebook.com/TheCameltoeBand
First full-lengther by this Norwegian act that came into existence in 2013 and had their first outage in 2017 with the “Handle With Care” E.P. There's quite a lot going on concept wise with variations ranging from Hammond laden, old-school HardRock a la Rainbow – meets – MSG (“Tank Command”), and early Scorpions (“Screaming My Head Off”), “Rock Balladry (“I Always Cared”), and more Mainstream oriented HardRock with clicks to Winger and Dokken in particular. Although classic, 80's HardRock is the prime mover, it features quite heavy guitars for the genre, as evidenced on the toe-tapping “Delusional” and the slow grinder that is ”Twisted Fister”. Some good, tasty guitar action throughout and a vocal delivery that shows a strong and muscular upper mid-range tone. There are no fast numbers down this set that is mostly moderately to mid-paced with two slower outings. Nothing out of the ordinary here but nicely done. O.K
Paul van der Burght
label: Battlegod productions
songs: Delusional / Screaming My Head Off / Never What It Seems / Tank Command / I Always Cared / Twisted Fister / Coming Home / Devils Soul / Rocky Road / Spread My Wings //
web: https://www.facebook.com/TheCameltoeBand
First full-lengther by this Norwegian act that came into existence in 2013 and had their first outage in 2017 with the “Handle With Care” E.P. There's quite a lot going on concept wise with variations ranging from Hammond laden, old-school HardRock a la Rainbow – meets – MSG (“Tank Command”), and early Scorpions (“Screaming My Head Off”), “Rock Balladry (“I Always Cared”), and more Mainstream oriented HardRock with clicks to Winger and Dokken in particular. Although classic, 80's HardRock is the prime mover, it features quite heavy guitars for the genre, as evidenced on the toe-tapping “Delusional” and the slow grinder that is ”Twisted Fister”. Some good, tasty guitar action throughout and a vocal delivery that shows a strong and muscular upper mid-range tone. There are no fast numbers down this set that is mostly moderately to mid-paced with two slower outings. Nothing out of the ordinary here but nicely done. O.K
Paul van der Burght
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DeadrideR – 2017 “Reaper”
label: private
songs: Start A Fight / Heavy Metal Deadride / Intro (Hell Is Upon You) / Souls And Bones / Iron Angel / Brainwashed / Through The Trenches / Rhetoric //
web: https://deadrider1.bandcamp.com/
Second outlet by this U.S act that sound much like the very earliest Metallica material – meets 80's HardCore Punk. This is pure, unpolished Speed / Metal stuff with a budget production and mix in true 80's tradition, This is what the 1st generation of U.S Speed / ThrashMetal / demo bands used to sound like back in the day; DeadrideR may not have the perfect appearance / production with programmed drums and the vocals not being pitch perfect but fact is that it sort of works here, adding that raw Underground feel to the music that has Metal written all over, from its lyrical content to its cover. The album rolls on fast tempos, rather static drums, staccato riffs and hoarse, level tone Punk vocals. Spinning the dis, there's classic Metal geared moments, such as the mid-paced, double bass driven and rhytmic “Iron Angel” and “Heavy Metal Deadride” and occasional clicks with Razor (the early SpeedMetaler “Brainwashed”), and Metallica, as witnessed down the “Seek And Destroy” like guitar solo down the latter mentioned, and the “Hit The Lights” twist down “Brainwashed”. In the 80's, it was the concept that mattered more than the performance and production. If one values “Reaper” as such, then this one will surely appeal to aficionados of the early U.S. Metal / SpeedMetal thing. O.K
Paul van der Burght
label: private
songs: Start A Fight / Heavy Metal Deadride / Intro (Hell Is Upon You) / Souls And Bones / Iron Angel / Brainwashed / Through The Trenches / Rhetoric //
web: https://deadrider1.bandcamp.com/
Second outlet by this U.S act that sound much like the very earliest Metallica material – meets 80's HardCore Punk. This is pure, unpolished Speed / Metal stuff with a budget production and mix in true 80's tradition, This is what the 1st generation of U.S Speed / ThrashMetal / demo bands used to sound like back in the day; DeadrideR may not have the perfect appearance / production with programmed drums and the vocals not being pitch perfect but fact is that it sort of works here, adding that raw Underground feel to the music that has Metal written all over, from its lyrical content to its cover. The album rolls on fast tempos, rather static drums, staccato riffs and hoarse, level tone Punk vocals. Spinning the dis, there's classic Metal geared moments, such as the mid-paced, double bass driven and rhytmic “Iron Angel” and “Heavy Metal Deadride” and occasional clicks with Razor (the early SpeedMetaler “Brainwashed”), and Metallica, as witnessed down the “Seek And Destroy” like guitar solo down the latter mentioned, and the “Hit The Lights” twist down “Brainwashed”. In the 80's, it was the concept that mattered more than the performance and production. If one values “Reaper” as such, then this one will surely appeal to aficionados of the early U.S. Metal / SpeedMetal thing. O.K
Paul van der Burght
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THRUST – 2018 “Harvest Of Souls”
label: Pure Steel records
songs: Deceiver / Immortal / Kill Or Be Killed / Sorceress / Shadow Of The Cross / Blood King / Possessed / Feel The Pain / End Of Time / One Step From The Grave //
web:http://www.thrustonline.com
US PowerMetalers Thrust were a big thing in the Underground tape-trading scene back in the early 80's and the inclusion of the song “Destructor” on the “Metal Massacre IV” compilation ('84) and the release of their “Fist Held High” album the very same year upped the band in Underground circles. Appearing to a wider audience, it became clear this was an act you either loved or loathed, in some degree due to the significant, shrieky falsetto vocals of singer John Bonata. Tne band's newest album “Harvest Of Souls” is completely free from judgement in the vocal department with a proper, all-out PowerMetal styled, and slightly atmospheric edged muscle voice delivered by singer Eric Claro. This brings the band close to the material of 80's band Cities on the mid-paced PowerMetalers “Deceiver” and “Immortal”. Basically, there is nothing in here that reminds of the old Thrust sound, crafting a brand of new-ish, classic US PowerMetal that mainly moves in a mod / mid-tempo with some slow grinders, and the atmospheric thing pushed forward on the slightly Dio flavoured “Possessed”. The album entertains but somehow under performs with the absence of accelerated tracks / Headbangers, double bass drummage (minus “Blood King”) and some all round spark in both production and performance. OK
Paul van der Burght
label: Pure Steel records
songs: Deceiver / Immortal / Kill Or Be Killed / Sorceress / Shadow Of The Cross / Blood King / Possessed / Feel The Pain / End Of Time / One Step From The Grave //
web:http://www.thrustonline.com
US PowerMetalers Thrust were a big thing in the Underground tape-trading scene back in the early 80's and the inclusion of the song “Destructor” on the “Metal Massacre IV” compilation ('84) and the release of their “Fist Held High” album the very same year upped the band in Underground circles. Appearing to a wider audience, it became clear this was an act you either loved or loathed, in some degree due to the significant, shrieky falsetto vocals of singer John Bonata. Tne band's newest album “Harvest Of Souls” is completely free from judgement in the vocal department with a proper, all-out PowerMetal styled, and slightly atmospheric edged muscle voice delivered by singer Eric Claro. This brings the band close to the material of 80's band Cities on the mid-paced PowerMetalers “Deceiver” and “Immortal”. Basically, there is nothing in here that reminds of the old Thrust sound, crafting a brand of new-ish, classic US PowerMetal that mainly moves in a mod / mid-tempo with some slow grinders, and the atmospheric thing pushed forward on the slightly Dio flavoured “Possessed”. The album entertains but somehow under performs with the absence of accelerated tracks / Headbangers, double bass drummage (minus “Blood King”) and some all round spark in both production and performance. OK
Paul van der Burght
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SACRED LEATHER – 2018 “Ultimate Force”
label: Cruz Del Sur Music
songs: Ultimate Force / Watcher / Power Thrust / Dream Searcher / Master Is Calling / Prowling Sinner / The Lost Destructor / Priest Of The Undoe //
web: https://www.facebook.com/leathersacredleather
Debut album by this U.S 5-piece harking back to the mid-80's U.S Metal sound, layered with classic European features. Opening tune, the mid / up-tempo “Ultimate Force” is a fine example of this, as is the chord riffed, mid-paced “The Lost Destructor” that sounds much like Pantera (“Projects In The Jungle” era) meets Accept in an Eurpean HardRock / Metal style. Furthering on the HardRock thing, and in this respect a tad different from the bulk is the driven, melodic edged “Master Is Calling”; one of the more tempered songs on the disc along with the dramatic Power ballad that is “Dream Searcher”. Faster / heavier moments of the set come in the shape of the moderately fast paced, melodic edged 80's Headbanger “Prowling Sinner”, the mid-tempo, Savatage (“Warriors”) - T.T.Quick (“Metal Of Honour”) phased “Power Thrust”, and the driven, mid-paced (Power) Metaler “Watcher, collecting the sounds of Dio, Demon Flight and Mercyful Fate. Sacred Leather have a strong, powerhouse singer that delivers the muscle and siren yells in true 80's tradition, whilst both guitarists spice the whole thing up with some tasty solo action. In all, a very complete and entertaining classic Metal album. Solid!
Paul van der Burght
label: Cruz Del Sur Music
songs: Ultimate Force / Watcher / Power Thrust / Dream Searcher / Master Is Calling / Prowling Sinner / The Lost Destructor / Priest Of The Undoe //
web: https://www.facebook.com/leathersacredleather
Debut album by this U.S 5-piece harking back to the mid-80's U.S Metal sound, layered with classic European features. Opening tune, the mid / up-tempo “Ultimate Force” is a fine example of this, as is the chord riffed, mid-paced “The Lost Destructor” that sounds much like Pantera (“Projects In The Jungle” era) meets Accept in an Eurpean HardRock / Metal style. Furthering on the HardRock thing, and in this respect a tad different from the bulk is the driven, melodic edged “Master Is Calling”; one of the more tempered songs on the disc along with the dramatic Power ballad that is “Dream Searcher”. Faster / heavier moments of the set come in the shape of the moderately fast paced, melodic edged 80's Headbanger “Prowling Sinner”, the mid-tempo, Savatage (“Warriors”) - T.T.Quick (“Metal Of Honour”) phased “Power Thrust”, and the driven, mid-paced (Power) Metaler “Watcher, collecting the sounds of Dio, Demon Flight and Mercyful Fate. Sacred Leather have a strong, powerhouse singer that delivers the muscle and siren yells in true 80's tradition, whilst both guitarists spice the whole thing up with some tasty solo action. In all, a very complete and entertaining classic Metal album. Solid!
Paul van der Burght
CHEROKEE – EP 2018 “Wakan Tanka Nichi Un”
label: Dying Victims productions
songs: Ethelred, Hero Of Trist / The Yellow King / Blood Worth Its Weight In Gold / Firewater //
web: https://cherokeehardrock.bandcamp.com/
French, female fronted outfit engaging some classic rooted HardRock with a one-off swing towards the early NWOBHM sound, as evidenced on opening tune “Ethelred, hero of Triste”; a driven, catchy up-tempo number that spins off with some Southern Rock a la The Outlaws that develops into a largely riff / twin guitar oriented Metaler a la Tokyo Blade with an Iron Maiden inspired rhythm section running underneath. The vocals of singer Laura Vesprini deliver the rough edge to the music with this Bluesy emotion as spotlighted on the up-tempo”Firewater”; a Riot hinted Southern Boogie Blues Rock tune that is lead in with a solistic guitar intro in the likes of Jack Starr (Virgin Steele). It is on those 2 tracks that the band performs best in an unpolished live studio take style that grips and rocks, opposed to the fairly generic Rockers that are Rock-ish “The Yellow King” and the Thin Lizzy infused Blues Rocker “Blood Worth Its Weight In Gold”. More of the stuff in the styles of the opening and closing tune would have upped this EP. OK
Paul van der Burght
label: Dying Victims productions
songs: Ethelred, Hero Of Trist / The Yellow King / Blood Worth Its Weight In Gold / Firewater //
web: https://cherokeehardrock.bandcamp.com/
French, female fronted outfit engaging some classic rooted HardRock with a one-off swing towards the early NWOBHM sound, as evidenced on opening tune “Ethelred, hero of Triste”; a driven, catchy up-tempo number that spins off with some Southern Rock a la The Outlaws that develops into a largely riff / twin guitar oriented Metaler a la Tokyo Blade with an Iron Maiden inspired rhythm section running underneath. The vocals of singer Laura Vesprini deliver the rough edge to the music with this Bluesy emotion as spotlighted on the up-tempo”Firewater”; a Riot hinted Southern Boogie Blues Rock tune that is lead in with a solistic guitar intro in the likes of Jack Starr (Virgin Steele). It is on those 2 tracks that the band performs best in an unpolished live studio take style that grips and rocks, opposed to the fairly generic Rockers that are Rock-ish “The Yellow King” and the Thin Lizzy infused Blues Rocker “Blood Worth Its Weight In Gold”. More of the stuff in the styles of the opening and closing tune would have upped this EP. OK
Paul van der Burght
SPARTAN WARRIOR – 2018 “Hell To Pay”
label: Pure Steel records
songs: Hell To Pay / Bad Attitude / Letting Go / Court Of Clowns / Something To Believe / Walls Fall Down / Shadowland / Covered In Lust / Fallen / In Memorium //
web: www.facebook.com/spartanwarriorofficial
Veteran NWOBHM act returning with another album that is rooted in the 80's HardRock / Metal sound but does not relate much to their initial sound. Although still predominantly classic European in overall sound, there's also a strong taste of the American HardRock sound, clearly evidenced by the largely Dokken flavoured “Bad Attitude” (much a la “Breaking The Chains”) and “Covered In Lust”. In essence, the set is more HardRock than Metal minded with a melodic swing brought in by the mid-range vocals of Dave Wilkinson. The moments the band comes out the strongest are the 80's Euro Metal styled semi-Headbangers “Hell To Pay” , “Walls fall Down” and “Fallen”, closely followed by the driven upbeat numbers “In Memorium” and “Court Of Clowns”. Songs are easy on the ear and upgraded by gripping riffs and some tasty guitar action highlighted on “Hell To Pay” and “Shadowland”. What kind of holds back the album impact wise is the level vocalage that lacks a certain spark or bite to accommodate the heavier / faster tunes, and the same pretty much applies to the nice but neat production. In all, an entertaining HardRock / Metal affair but nothing that towers high above similar albums, past or present.
Paul van der Burght
label: Pure Steel records
songs: Hell To Pay / Bad Attitude / Letting Go / Court Of Clowns / Something To Believe / Walls Fall Down / Shadowland / Covered In Lust / Fallen / In Memorium //
web: www.facebook.com/spartanwarriorofficial
Veteran NWOBHM act returning with another album that is rooted in the 80's HardRock / Metal sound but does not relate much to their initial sound. Although still predominantly classic European in overall sound, there's also a strong taste of the American HardRock sound, clearly evidenced by the largely Dokken flavoured “Bad Attitude” (much a la “Breaking The Chains”) and “Covered In Lust”. In essence, the set is more HardRock than Metal minded with a melodic swing brought in by the mid-range vocals of Dave Wilkinson. The moments the band comes out the strongest are the 80's Euro Metal styled semi-Headbangers “Hell To Pay” , “Walls fall Down” and “Fallen”, closely followed by the driven upbeat numbers “In Memorium” and “Court Of Clowns”. Songs are easy on the ear and upgraded by gripping riffs and some tasty guitar action highlighted on “Hell To Pay” and “Shadowland”. What kind of holds back the album impact wise is the level vocalage that lacks a certain spark or bite to accommodate the heavier / faster tunes, and the same pretty much applies to the nice but neat production. In all, an entertaining HardRock / Metal affair but nothing that towers high above similar albums, past or present.
Paul van der Burght
Model VIRUS INFEKT
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Photo above left by Austin Donohue. Photo above right by JG Photography
Model: VIRUS INFEKT
links: https://www.facebook.com/VirusInfekted/ http://virusinfekt.tumblr.com Instagram: @virusinfekt
JG Photography: https://www.facebook.com/JG-Photography-157299354394473/
Model: VIRUS INFEKT
links: https://www.facebook.com/VirusInfekted/ http://virusinfekt.tumblr.com Instagram: @virusinfekt
JG Photography: https://www.facebook.com/JG-Photography-157299354394473/
BRITISH STEEL - 'The Rising Force Of British Heavy Metal'
label: Dissonance productions / Back On Black records
web: CD: http://bit.ly/DISS083CDD Vinyl: http://bit.ly/BOBV526LP
bands / songs: 11x
Amulet - Highwayman
Aggressive Perfector – Harlot's Spell
Eliminator - Lost To The Void
Dungeon – Queen Of Sin
Dark Forest - Where The Arrow Falls
Toledo Steel – Rock Nights
Vuil - Iron Witch
Seven Sisters – The Witch's Eye
Insurgency – Destined For Death
Neuronspoiler – Slay The Beast
Wytch Hazel – Freedom Battle
Modern-day compilation in the old-school tradition. As its title suggests, “British Steel” is a presentation of today's U.K Underground Metal scene, and features a variety of styles, although NWOTHM (New Wave Of Traditional Heavy Metal) and NWOBHM (New Wave Of British Heavy Metal) are the favourite styles by far. These are represented by Amulet (fast & catchy NWOBHM somewhere in between Black Rose and Hellanbach), Aggressive Perfector (pure, bare knuckle NWOBHM with matching vocals), Eliminator (melodic laden NWOBHM with plenty of twin-guitar hooks), and two of the better picks of the album; Dark Forest with the driven, guitar showered up-tempo “Where The Arrow Falls”, partnering elements of Folk with NWOBHM, and Neuronspoiler with the galloping, melodic edged “Slay The Beast” featuring some strong lead vocals. Faster interpretations are delivered by Seven Sisters with the NWOBHM / SpeedMetal fused “The Witch's Eye” and Vuil with the riff-based NWOBHM Headbanger “Iron Witch” that draws certain similarities to Exciter! Heavier acts on the disc are Dungeon (rhythm riffed & snare drummed DeathThrash) and Insurgency (Blackened Thrash with gruff, growling vocals). Another set of different styles is brought in by two other album toppers; Wytch Hazel (neat and melodic laden mix of HardRock, Folk and the Epic thing with subtle vocals and twin guitar fragments) and Toledo Steel with the mildly Thrash tinged Metaler “Rock Nights”; an up-tempo track that reminds of 80's, Priest inspired U.S Metal with strong, siren howl vocals and tasty guitarwork. Completely in accordance with independent compilations from the 80's, the individual recordings largely differ largely in tone and production, as if lifted from demo-tapes, adding this honest and pure DIY feel. In all, an entertaining sampler with a good number of promising acts.
Paul van der Burght
label: Dissonance productions / Back On Black records
web: CD: http://bit.ly/DISS083CDD Vinyl: http://bit.ly/BOBV526LP
bands / songs: 11x
Amulet - Highwayman
Aggressive Perfector – Harlot's Spell
Eliminator - Lost To The Void
Dungeon – Queen Of Sin
Dark Forest - Where The Arrow Falls
Toledo Steel – Rock Nights
Vuil - Iron Witch
Seven Sisters – The Witch's Eye
Insurgency – Destined For Death
Neuronspoiler – Slay The Beast
Wytch Hazel – Freedom Battle
Modern-day compilation in the old-school tradition. As its title suggests, “British Steel” is a presentation of today's U.K Underground Metal scene, and features a variety of styles, although NWOTHM (New Wave Of Traditional Heavy Metal) and NWOBHM (New Wave Of British Heavy Metal) are the favourite styles by far. These are represented by Amulet (fast & catchy NWOBHM somewhere in between Black Rose and Hellanbach), Aggressive Perfector (pure, bare knuckle NWOBHM with matching vocals), Eliminator (melodic laden NWOBHM with plenty of twin-guitar hooks), and two of the better picks of the album; Dark Forest with the driven, guitar showered up-tempo “Where The Arrow Falls”, partnering elements of Folk with NWOBHM, and Neuronspoiler with the galloping, melodic edged “Slay The Beast” featuring some strong lead vocals. Faster interpretations are delivered by Seven Sisters with the NWOBHM / SpeedMetal fused “The Witch's Eye” and Vuil with the riff-based NWOBHM Headbanger “Iron Witch” that draws certain similarities to Exciter! Heavier acts on the disc are Dungeon (rhythm riffed & snare drummed DeathThrash) and Insurgency (Blackened Thrash with gruff, growling vocals). Another set of different styles is brought in by two other album toppers; Wytch Hazel (neat and melodic laden mix of HardRock, Folk and the Epic thing with subtle vocals and twin guitar fragments) and Toledo Steel with the mildly Thrash tinged Metaler “Rock Nights”; an up-tempo track that reminds of 80's, Priest inspired U.S Metal with strong, siren howl vocals and tasty guitarwork. Completely in accordance with independent compilations from the 80's, the individual recordings largely differ largely in tone and production, as if lifted from demo-tapes, adding this honest and pure DIY feel. In all, an entertaining sampler with a good number of promising acts.
Paul van der Burght
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HELLRIPPER – 2017 “Coagulating Darkness”
label: Barbarian Wrath (CD) / Diabolic Might (vinyl) / Granite Factory (cassette)
songs: Bastard Of Hades / Anneliese / Demdike (In League With The Devil) / Within The Everlasting Hellfire / From Hell / Black Invocation / Conduit Closing / Coagulating Darkness //
web: http://www.hellripper.bandcamp.com/
Latest work by Aberdeen's one-man project Hellripper that is going from strength to strength with every new release. Ever since the release of “The Manifestation Of Evil” MLP in 2015, multi-instrumentalist and composer James McBain has catapulted himself onto the upper-ranks of the Traditional Black / SpeedMetal thing with a unique, old-school HardRock groove; a factor that has been consistent throughout his repertoire, whilst the concept itself has seen modifications with every new release. This time around, there's fragments (particularly the riffs) that identify with both Metallica's “Kill 'em All” (“Bastard Of Hades”) and Whiplash' “Power And Pain” (“Demdike”, “Black Invocation”) sauced with the groove and feel of Motorhead, whilst the intense speedster “Coagulating Darkness” has an early Slayer feel running underneath. Overall, material is dominated by gripping riffs, breakneck tempos, raspy BlackMetal vocals, and this raw, relentless appearance that is nicely balanced out by the well structured guitar solos, highlighted on “Anneliese” with its added twin-harmonies. “Coagulating Darkness” captures the quality and energy of Motorhead, Bathory, Whiplash and early Metallica with a most convincing Hellripper twist. Excellent!
Paul van der Burght
Manic Mosh earlier did an interview with Hellripper, but with the release of his latest work, the 2017 “Coagulating Darkness” album, composer and multi-instrumentalist James McBain (Helripper) shows another twist to the musical concept that grows from strength to strength with every new outing. Manic Mosh had a chat with Hellripper about the new album and the newly slipped in features....
MMM: Your concept seems to have a slightly different twist with every new release... is that a preset choice or coincidental
Hellripper: Completely coincidental actually. The style of the songs kind of reflect what kind of mood I'm into at that moment music-wise. With the first E.P for example, I was really into Toxic Holocaust, Bathory, Darkthrone etc. While writing “Coagulating Darkness”, I was in a more Speed Metal and Thrash phase and was listening to stuff like Megadeth, Ranger, Metallica (mainly “Ride The Lightning” believe it or not although everyone has been comparing it to “Kill 'em All” haha) and Warbringer.
Currently, I am in the middle of writing and recording songs for a few split releases and an E.P and again, it's got more of a Rock 'n' Roll or 'MetalPunk' feel similar to the first few releases of mine.
MMM: Indeed, your latest work “Coagulating Darkness” reveals a certain Metallica influence in there, referring to “Bastard Of Hades” that somehow identifies with “Metal Militia” plus the guitar solos on certain songs.
Hellripper: Totally unintentional. As I said previously, I was listening to “Ride The Lightning” quite a bit and “...And Justice For All” which is my favourite album of theirs, and although everyone is comparing the album sound-wise to “Kill 'em All”, I don't recall actually listening to that album during the writing process for “Coagulating Darkness” haha. Metallica are one of my favourite bands of all-time however, so their influence is probably just embedded in my brain now haha.
MMM: Has Whiplash been added to the list of inspirational sources as well? The riffage on “Coagulating Darkness” sort of clicks with the aforementioned
Hellripper: That name has been mentioned quite a bit in regards to “Coagulating Darkness” as well, most notably by 'Barbarian Wrath', the label who released the CD version of the album haha. I wouldn't say Whiplash were a direct influence on me but I do enjoy their first 3 albums quite a lot.
MMM: The solo-action also has gotten a more prominent role on the new album, highlighted on “Anneliese”; can we expect more of this on future work.
Hellripper: Yeah, the lead guitar is more prominent on the new album as opposed to the older material but that's just a coincidence. It was just what came out when writing the album and just what I thought the songs needed. The 3 or 4 songs that I have written for the upcoming splits don't feature guitar solos in such a prominent role in the same way that songs like “Anneliese” do but they will probably return in future work.
MMM: Has the live-line up of the band been achieved?
Hellripper: It has, I got a few of my friends to play live shows with me. We haven't played a good amount of shows yet but hopefully we can change that in the next year.
MMM: Looking at your catalogue, you have addressed to various labels to release your material. Did you ever intended to go for just one label, or is this part of the true Underground spirit?
Hellripper: I just take things as they come. If a label wants to release something and it's something that sounds good and that I can do then that's fine with me haha.
MMM: From the debut appearance with “The Manifestation Of Evil” to where you are now, your music has progressed in many ways even though the quality level and potential was there from day one... How do you look back on how things have snowballed, both musical and recognition wise.
Hellripper: It's quite ridiculous really haha. “The Manifestation of Evil” was just 4 songs that I wrote and recorded in my bedroom for fun and thought that maybe a few people locally might like it. I didn't expect any labels to pick it up and release it and I didn't expect to receive the amount of positive reception the releases have had. I am very grateful to everyone that has listened to and/or shared the music in anyway or have bought merch. Musically, it's still the exact same process for writing and recording the music. Everything is written and recorded at home in my bedroom, although I believe I have improved my skills on guitar as well as on the production side of things so with each release there is an improvement in the sound quality.
MMM: Will Hellripper remain a one-man show or would you ever consider to continue in band-format?
Hellripper: For the moment it will remain a solo project. I can't say what will happen in the future though.
label: Barbarian Wrath (CD) / Diabolic Might (vinyl) / Granite Factory (cassette)
songs: Bastard Of Hades / Anneliese / Demdike (In League With The Devil) / Within The Everlasting Hellfire / From Hell / Black Invocation / Conduit Closing / Coagulating Darkness //
web: http://www.hellripper.bandcamp.com/
Latest work by Aberdeen's one-man project Hellripper that is going from strength to strength with every new release. Ever since the release of “The Manifestation Of Evil” MLP in 2015, multi-instrumentalist and composer James McBain has catapulted himself onto the upper-ranks of the Traditional Black / SpeedMetal thing with a unique, old-school HardRock groove; a factor that has been consistent throughout his repertoire, whilst the concept itself has seen modifications with every new release. This time around, there's fragments (particularly the riffs) that identify with both Metallica's “Kill 'em All” (“Bastard Of Hades”) and Whiplash' “Power And Pain” (“Demdike”, “Black Invocation”) sauced with the groove and feel of Motorhead, whilst the intense speedster “Coagulating Darkness” has an early Slayer feel running underneath. Overall, material is dominated by gripping riffs, breakneck tempos, raspy BlackMetal vocals, and this raw, relentless appearance that is nicely balanced out by the well structured guitar solos, highlighted on “Anneliese” with its added twin-harmonies. “Coagulating Darkness” captures the quality and energy of Motorhead, Bathory, Whiplash and early Metallica with a most convincing Hellripper twist. Excellent!
Paul van der Burght
Manic Mosh earlier did an interview with Hellripper, but with the release of his latest work, the 2017 “Coagulating Darkness” album, composer and multi-instrumentalist James McBain (Helripper) shows another twist to the musical concept that grows from strength to strength with every new outing. Manic Mosh had a chat with Hellripper about the new album and the newly slipped in features....
MMM: Your concept seems to have a slightly different twist with every new release... is that a preset choice or coincidental
Hellripper: Completely coincidental actually. The style of the songs kind of reflect what kind of mood I'm into at that moment music-wise. With the first E.P for example, I was really into Toxic Holocaust, Bathory, Darkthrone etc. While writing “Coagulating Darkness”, I was in a more Speed Metal and Thrash phase and was listening to stuff like Megadeth, Ranger, Metallica (mainly “Ride The Lightning” believe it or not although everyone has been comparing it to “Kill 'em All” haha) and Warbringer.
Currently, I am in the middle of writing and recording songs for a few split releases and an E.P and again, it's got more of a Rock 'n' Roll or 'MetalPunk' feel similar to the first few releases of mine.
MMM: Indeed, your latest work “Coagulating Darkness” reveals a certain Metallica influence in there, referring to “Bastard Of Hades” that somehow identifies with “Metal Militia” plus the guitar solos on certain songs.
Hellripper: Totally unintentional. As I said previously, I was listening to “Ride The Lightning” quite a bit and “...And Justice For All” which is my favourite album of theirs, and although everyone is comparing the album sound-wise to “Kill 'em All”, I don't recall actually listening to that album during the writing process for “Coagulating Darkness” haha. Metallica are one of my favourite bands of all-time however, so their influence is probably just embedded in my brain now haha.
MMM: Has Whiplash been added to the list of inspirational sources as well? The riffage on “Coagulating Darkness” sort of clicks with the aforementioned
Hellripper: That name has been mentioned quite a bit in regards to “Coagulating Darkness” as well, most notably by 'Barbarian Wrath', the label who released the CD version of the album haha. I wouldn't say Whiplash were a direct influence on me but I do enjoy their first 3 albums quite a lot.
MMM: The solo-action also has gotten a more prominent role on the new album, highlighted on “Anneliese”; can we expect more of this on future work.
Hellripper: Yeah, the lead guitar is more prominent on the new album as opposed to the older material but that's just a coincidence. It was just what came out when writing the album and just what I thought the songs needed. The 3 or 4 songs that I have written for the upcoming splits don't feature guitar solos in such a prominent role in the same way that songs like “Anneliese” do but they will probably return in future work.
MMM: Has the live-line up of the band been achieved?
Hellripper: It has, I got a few of my friends to play live shows with me. We haven't played a good amount of shows yet but hopefully we can change that in the next year.
MMM: Looking at your catalogue, you have addressed to various labels to release your material. Did you ever intended to go for just one label, or is this part of the true Underground spirit?
Hellripper: I just take things as they come. If a label wants to release something and it's something that sounds good and that I can do then that's fine with me haha.
MMM: From the debut appearance with “The Manifestation Of Evil” to where you are now, your music has progressed in many ways even though the quality level and potential was there from day one... How do you look back on how things have snowballed, both musical and recognition wise.
Hellripper: It's quite ridiculous really haha. “The Manifestation of Evil” was just 4 songs that I wrote and recorded in my bedroom for fun and thought that maybe a few people locally might like it. I didn't expect any labels to pick it up and release it and I didn't expect to receive the amount of positive reception the releases have had. I am very grateful to everyone that has listened to and/or shared the music in anyway or have bought merch. Musically, it's still the exact same process for writing and recording the music. Everything is written and recorded at home in my bedroom, although I believe I have improved my skills on guitar as well as on the production side of things so with each release there is an improvement in the sound quality.
MMM: Will Hellripper remain a one-man show or would you ever consider to continue in band-format?
Hellripper: For the moment it will remain a solo project. I can't say what will happen in the future though.
MAUSOLEUM GATE - 2017 “Into A Dark Divinity”
label: Cruz Del Sur Music
songs: Burn The Witches of Dawn / Apophis / Solomon's Key / Horns / Into A Dark Divinity //
web: https://www.facebook.com/MausoleumGate/ https://mausoleumgatemetal.bandcamp.com/
Song durations of well over 9 and 10 minutes indicate the Progressive nature of the concept here. At the root of this is an amalgam of 70's and early 80's HardRock, Psychedelics, and all out Proggy, Epic sphered moments with (semi) acoustics and (heavy) balladry. There's a frequent use of Hammond style synths that, in combination with the musical style of Mausoluem Gate trigger a certain likeness to Uriah Heep on tracks such as “Condemned To Darkness” and “Horns”; a driven up-tempo track in the 70's styles with additional hints of Deep Purple. The atmospheric element is pushed forward on the dark vibed and structurally climaxing “Apophis”; a track that could have landed in PowerMetal territories with the use of heavier guitars. It is also here that the vocals come out much better in a narrative, lower-toned appearance over against the exaggerated and off-key falsetto voice displayed on “Burn The Witches”. The synthesizer has various appearances (piano, Hammond, effects) and do well in Hammond modus but tends to sound a bit 'plastic' with regards to effects and simulated instruments. In essence, “Into A Dark Divinity” is more Prog oriented than anything else, and Mausoleum Gate brings this with all the key features and hints of the traditional sounds. Interesting.
Paul van der Burght
label: Cruz Del Sur Music
songs: Burn The Witches of Dawn / Apophis / Solomon's Key / Horns / Into A Dark Divinity //
web: https://www.facebook.com/MausoleumGate/ https://mausoleumgatemetal.bandcamp.com/
Song durations of well over 9 and 10 minutes indicate the Progressive nature of the concept here. At the root of this is an amalgam of 70's and early 80's HardRock, Psychedelics, and all out Proggy, Epic sphered moments with (semi) acoustics and (heavy) balladry. There's a frequent use of Hammond style synths that, in combination with the musical style of Mausoluem Gate trigger a certain likeness to Uriah Heep on tracks such as “Condemned To Darkness” and “Horns”; a driven up-tempo track in the 70's styles with additional hints of Deep Purple. The atmospheric element is pushed forward on the dark vibed and structurally climaxing “Apophis”; a track that could have landed in PowerMetal territories with the use of heavier guitars. It is also here that the vocals come out much better in a narrative, lower-toned appearance over against the exaggerated and off-key falsetto voice displayed on “Burn The Witches”. The synthesizer has various appearances (piano, Hammond, effects) and do well in Hammond modus but tends to sound a bit 'plastic' with regards to effects and simulated instruments. In essence, “Into A Dark Divinity” is more Prog oriented than anything else, and Mausoleum Gate brings this with all the key features and hints of the traditional sounds. Interesting.
Paul van der Burght
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HELLVETICA – 2017 “Against The Odds”
label: private
songs: Wake Up The Dead / Against The Odds / Face Palm / HVA / Bitchslap / Broken Wings / Reborn / Jump The Fuck Up / Road Kill / Demolition / Pitmaster / Wake Up The Dead (Karaoke Version) //
web: http://www.hellvetica.ch
Newest release by these Swiss Thrashers, phasing grooved up 90's Thrash with Nu Thrash and the occasional blend of the 80's Thrash thing. This is one seriously intense and energetic commodity with a lot of its provocation funnelled through the OTT, rough and roary vocalage. Songs are either fast or a combination of mod / mid-tempos and accelerations. Within its concept, there's Bay Area / West Coast Thrash moments (“Wake Up The Dead”), clicks with Pantera (“Against The Odds”), Groove Metal (“Bitchslap”), and the HardCore / Crossover thing (“Road Kill”). There's little solo-action down the set, but over against that is the prominent role of the riffage throughout, highlighted on the Fear Factory – meets – Austrian Death Machine like “HVA”. In all, a cool affair and convincing Thrash affair that comes with a K.O production.
Paul van der Burght
label: private
songs: Wake Up The Dead / Against The Odds / Face Palm / HVA / Bitchslap / Broken Wings / Reborn / Jump The Fuck Up / Road Kill / Demolition / Pitmaster / Wake Up The Dead (Karaoke Version) //
web: http://www.hellvetica.ch
Newest release by these Swiss Thrashers, phasing grooved up 90's Thrash with Nu Thrash and the occasional blend of the 80's Thrash thing. This is one seriously intense and energetic commodity with a lot of its provocation funnelled through the OTT, rough and roary vocalage. Songs are either fast or a combination of mod / mid-tempos and accelerations. Within its concept, there's Bay Area / West Coast Thrash moments (“Wake Up The Dead”), clicks with Pantera (“Against The Odds”), Groove Metal (“Bitchslap”), and the HardCore / Crossover thing (“Road Kill”). There's little solo-action down the set, but over against that is the prominent role of the riffage throughout, highlighted on the Fear Factory – meets – Austrian Death Machine like “HVA”. In all, a cool affair and convincing Thrash affair that comes with a K.O production.
Paul van der Burght
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BLASPHERION – 2018 “Restus Corpus”
label: private
songs: Transmutação das Almas / Causa Mortis / Restus Corpus / Queime A Igreja //
web: https://www.facebook.com/Blaspherionsatanico/
The “Restus Corpus” E.P by Brazilan act Blaspherion harks right back to the 90's DeathMetal thing, crossing borders with the European and Tampa / U.S sound of old with a strong taste of Incantation throughout. The E.P sounds much like a retro, 'basement' / rehearsal type recording, adding up to the traditional feel and allround raw and 'natural' atmosphere. The instrumentation clicks with all this, sporting muffled crunch type Thrash guitars, deep, gurgling (GrindCore edged) gruntage and 'dry' snare drums. Songs hold a variety of tempos; from fast & snare drummed, to up-tempo, and slower with some Doom hooks thrown in “Queime A Igreja”. There's no solos down the set, but regarding the compact nature of the songs, this is not a loss. Strong point throughout is the variable drummage of Rafael Thédiga, peaking on the propelling “Causa Mortis”. Three songs and an intro just leave you wanting more of this band! Strong
Paul van der Burght
label: private
songs: Transmutação das Almas / Causa Mortis / Restus Corpus / Queime A Igreja //
web: https://www.facebook.com/Blaspherionsatanico/
The “Restus Corpus” E.P by Brazilan act Blaspherion harks right back to the 90's DeathMetal thing, crossing borders with the European and Tampa / U.S sound of old with a strong taste of Incantation throughout. The E.P sounds much like a retro, 'basement' / rehearsal type recording, adding up to the traditional feel and allround raw and 'natural' atmosphere. The instrumentation clicks with all this, sporting muffled crunch type Thrash guitars, deep, gurgling (GrindCore edged) gruntage and 'dry' snare drums. Songs hold a variety of tempos; from fast & snare drummed, to up-tempo, and slower with some Doom hooks thrown in “Queime A Igreja”. There's no solos down the set, but regarding the compact nature of the songs, this is not a loss. Strong point throughout is the variable drummage of Rafael Thédiga, peaking on the propelling “Causa Mortis”. Three songs and an intro just leave you wanting more of this band! Strong
Paul van der Burght
INSULTERS – 2016 “Metal Still Means Danger”
label: Unholy Prephecies
songs: Age Of Terror / Highway Of Death / Icons & Symbols / Bang Your Fucking Skull / Forged In Hell's Fire / Bastard Soldiers / Burn With The Witch / Here Falls The Hammer / Metal Still Means Danger //
web: https://www.facebook.com/insulters666
Catalonian act that first entered the scene in 2008 with the “Skull Krushers” demo tape. Insulters have this new, old-school feel and sound that largely identifies with Brazilian Blackened Thrash bands. Music on display on this 9 songer takes no prisoners! This thing is relentless, raw and aggressive, merging the likes of classics such as Bathory, Tank, At War, Celtic Frost and Venom with the more modern adaptations such as Aura Noir with a touch upon DeathMetal in the guitar department, whilst still being really OTT HardCore Thrash Metal with raspy growl vocals, blast beats and crunching, bass oriented guitars that all move in high speed. Whilst not down the same page musical wise, Insulters remind a lot of Whiplash energy wise. This is a 9 out of 10 album that rips from start to finish. Some cool, allround clicks with Celtic Frost down “Here Falls The Hammer”.
Paul van der Burght
label: Unholy Prephecies
songs: Age Of Terror / Highway Of Death / Icons & Symbols / Bang Your Fucking Skull / Forged In Hell's Fire / Bastard Soldiers / Burn With The Witch / Here Falls The Hammer / Metal Still Means Danger //
web: https://www.facebook.com/insulters666
Catalonian act that first entered the scene in 2008 with the “Skull Krushers” demo tape. Insulters have this new, old-school feel and sound that largely identifies with Brazilian Blackened Thrash bands. Music on display on this 9 songer takes no prisoners! This thing is relentless, raw and aggressive, merging the likes of classics such as Bathory, Tank, At War, Celtic Frost and Venom with the more modern adaptations such as Aura Noir with a touch upon DeathMetal in the guitar department, whilst still being really OTT HardCore Thrash Metal with raspy growl vocals, blast beats and crunching, bass oriented guitars that all move in high speed. Whilst not down the same page musical wise, Insulters remind a lot of Whiplash energy wise. This is a 9 out of 10 album that rips from start to finish. Some cool, allround clicks with Celtic Frost down “Here Falls The Hammer”.
Paul van der Burght
AVENGER – LP 2107 “Depraved To Black”
label: Pure Steel records
songs: Down To The Bone/ Depraved To Black / Prayers Of Steel (Live) / Faster Than Hell (Live) / Faster Than Hell (Demo I) / Adoration (Demo I) / Destination Day (Demo I) / Assorted By Satan //
Limited press vinyl re-release, coupling the '85 “Depraved To Black” EP and the '83 “Faster Than Hell” demo tape. Before the band changed its name to Rage, Germany's Avenger were in the midst of the Euro Metal boom when it started tending towards SpeedMetal; a genre by far popular in Germany in the mid 80's and onwards. The “Depraved To Black” EP testifies to this with the early mark, rhythm riffed SpeedMetalers “Down To The Bone” and “Depraved To Black” whilst “Prayers Of Steel” resorts to the traditional Euro / German Metal sound. The “Faster Than Hell” demo tape was the one release that put Avenger on the map, sporting a set of Speedsters, partnering the Acid-esque Headbanger “Faster Than Hell” and “Adoration”, alongside more tempered tracks such as the driven, mid-paced “Destination Day” and the propelling PowerMetaler “Assorted By Satan”. At that stage, Avenger was in the right place at the right time concept wise, with this particular demo being praised and circulated at a large scale with coverage in fanzines worldwide. This re-release nicely documents the pure and unpolished sound of the 1st generation SpeedMetal, complete with snarling falsetto vocals German style! Classic.
Paul van der Burght
specs: limited Edition of 300 black copies and 166 black/sliver Splatter copies, with 4 bonustracks and insert.
label: Pure Steel records
songs: Down To The Bone/ Depraved To Black / Prayers Of Steel (Live) / Faster Than Hell (Live) / Faster Than Hell (Demo I) / Adoration (Demo I) / Destination Day (Demo I) / Assorted By Satan //
Limited press vinyl re-release, coupling the '85 “Depraved To Black” EP and the '83 “Faster Than Hell” demo tape. Before the band changed its name to Rage, Germany's Avenger were in the midst of the Euro Metal boom when it started tending towards SpeedMetal; a genre by far popular in Germany in the mid 80's and onwards. The “Depraved To Black” EP testifies to this with the early mark, rhythm riffed SpeedMetalers “Down To The Bone” and “Depraved To Black” whilst “Prayers Of Steel” resorts to the traditional Euro / German Metal sound. The “Faster Than Hell” demo tape was the one release that put Avenger on the map, sporting a set of Speedsters, partnering the Acid-esque Headbanger “Faster Than Hell” and “Adoration”, alongside more tempered tracks such as the driven, mid-paced “Destination Day” and the propelling PowerMetaler “Assorted By Satan”. At that stage, Avenger was in the right place at the right time concept wise, with this particular demo being praised and circulated at a large scale with coverage in fanzines worldwide. This re-release nicely documents the pure and unpolished sound of the 1st generation SpeedMetal, complete with snarling falsetto vocals German style! Classic.
Paul van der Burght
specs: limited Edition of 300 black copies and 166 black/sliver Splatter copies, with 4 bonustracks and insert.
Model FERAL VICE
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Above left: photo by Greg Cleaver. Above right: photo by Onno Kok
My name is Feral Vice and I currently live in beautiful Penticton B.C, Canada. I have been a model for about 16+ years. I enjoy travelling and various different outdoor activities. The bands I most listen to are Obituary and Slayer. My favourite type of Metal is Death Metal.
Feral Vice links: https://www.facebook.com/feral6913/ http://www.modelmayhem.com/portfolio/2816683/viewall
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Above left: photo by Onno Kok. Above centre: photo by Cara Devaney. Above right:photo by Feral Vice
LOST REALM records
web: http://www.lostrealmrecords.com https://www.facebook.com/LostRealmRecords/Traditional Metal label and on-line store entirely dedicated to 80's Metal and current bands with a traditional sound. Heavy Metal / Power / Speed / Doom / 80's Metal. Label has a whole range of re-released gems, plus collections of demo-tracks and unreleased material from obscure 80's bands on. Some of the releases include Koda Khan, Ace, Strychnine, and Kil d'Kor.
web: http://www.lostrealmrecords.com https://www.facebook.com/LostRealmRecords/Traditional Metal label and on-line store entirely dedicated to 80's Metal and current bands with a traditional sound. Heavy Metal / Power / Speed / Doom / 80's Metal. Label has a whole range of re-released gems, plus collections of demo-tracks and unreleased material from obscure 80's bands on. Some of the releases include Koda Khan, Ace, Strychnine, and Kil d'Kor.
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OCCVLTA – 2017” Night Without End”
label: Dying Victims productions (CD) / Electric Assault records (vinyl)
songs: Return To The House / Eyes In Darkness / The Last Of The Sabbaths / Sculpture Made Of Cursed Visions / Beautiful Flame Of Eternal Bitterness / Merciless Hammer / Darkness Bloom / Nosferatu / Above Pale Fields Of Fevers //
web: www.occvlta.com
“Night Without End”, the debut album by German act Occvlta is one of such releases that perfectly replicates the early Black / DeathMetal sound, presented with a 'basement' type demo / rehearsal sound, HardCore / Punk inspired repeat riffs, and this allround 'primitive' appearance. With the traditional root well in place, Occvulta created a concept that has Hellhammer / early Celtic Frost written all over. This comes complete with an identical, thin production, straight forward programming and trebly, bar-riffed repeat guitars. Add to this, some gruff, Punk-style vocalage a la Warfare with a Tom Warrior ish twist and that is pretty much what is on offer down the set that tends towards Nordic BlackMetal on the snare-drummed “Sculpture Made Of Cursed Visions”, and incorporates blends of Doom on the slower-paced tracks “Eyes In Darkness” and “Darkness Bloom”. Fans of the early BlackMetal sound are in for a treat with Occvlta's “Night Without End” that works well by the principle of 'less is more'!
Paul van der Burght
label: Dying Victims productions (CD) / Electric Assault records (vinyl)
songs: Return To The House / Eyes In Darkness / The Last Of The Sabbaths / Sculpture Made Of Cursed Visions / Beautiful Flame Of Eternal Bitterness / Merciless Hammer / Darkness Bloom / Nosferatu / Above Pale Fields Of Fevers //
web: www.occvlta.com
“Night Without End”, the debut album by German act Occvlta is one of such releases that perfectly replicates the early Black / DeathMetal sound, presented with a 'basement' type demo / rehearsal sound, HardCore / Punk inspired repeat riffs, and this allround 'primitive' appearance. With the traditional root well in place, Occvulta created a concept that has Hellhammer / early Celtic Frost written all over. This comes complete with an identical, thin production, straight forward programming and trebly, bar-riffed repeat guitars. Add to this, some gruff, Punk-style vocalage a la Warfare with a Tom Warrior ish twist and that is pretty much what is on offer down the set that tends towards Nordic BlackMetal on the snare-drummed “Sculpture Made Of Cursed Visions”, and incorporates blends of Doom on the slower-paced tracks “Eyes In Darkness” and “Darkness Bloom”. Fans of the early BlackMetal sound are in for a treat with Occvlta's “Night Without End” that works well by the principle of 'less is more'!
Paul van der Burght
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SACRAL NIGHT – 2017 “Darkness Process”
label: Inferno records
songs: Darkness Process / Fullmoon Creep Sacrifice / When The Coven Is Opening The Pit / Under The Moonlight / Witness Of Death //
web: https://www.facebook.com/SacralNight-775056482643280
French unit engaging some slightly atmospheric edged 90's style DeathMetal with traces of the Nordic BlackMetal thing and Tampa DeathMetal. Completely in accordance with the latter mentioned source, there's quite a lot happening down the music without sounding all too technical, and in addition, there's those significant, Tampa signature Thrash guitars and fairly constant double-bass drummage throughout. Add to this a singer that delivers a two-toned vocalage, alternating a gruff, talk type voice a la Cronos (Venom) with falsetto and siren yells with a King Diamond (MF Fate) twist and out comes a comes that is original and refreshing. Band works a lot with accelerations over a mid-tempo whilst the most DeathMetal geared “When The Coven...” is predominantly fast with the slowest track, the lightly Warfare – meets – MF Fate styled “Witness Of Death” is on the other end of the spectrum tempo wise. Solid!
Paul van der Burght
label: Inferno records
songs: Darkness Process / Fullmoon Creep Sacrifice / When The Coven Is Opening The Pit / Under The Moonlight / Witness Of Death //
web: https://www.facebook.com/SacralNight-775056482643280
French unit engaging some slightly atmospheric edged 90's style DeathMetal with traces of the Nordic BlackMetal thing and Tampa DeathMetal. Completely in accordance with the latter mentioned source, there's quite a lot happening down the music without sounding all too technical, and in addition, there's those significant, Tampa signature Thrash guitars and fairly constant double-bass drummage throughout. Add to this a singer that delivers a two-toned vocalage, alternating a gruff, talk type voice a la Cronos (Venom) with falsetto and siren yells with a King Diamond (MF Fate) twist and out comes a comes that is original and refreshing. Band works a lot with accelerations over a mid-tempo whilst the most DeathMetal geared “When The Coven...” is predominantly fast with the slowest track, the lightly Warfare – meets – MF Fate styled “Witness Of Death” is on the other end of the spectrum tempo wise. Solid!
Paul van der Burght
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FAST EVIL is a Traditional Speed Metal band from Brazil that recently launched their debut E.P “Wake Up The Devil” that is deeply rooted in the 80's Speed Metal sound, layered with classic Metal a la Priest and the German Metal sound of old. Manic Mosh had a chat with this promising act about the E.P and the Brazilian Metal scene
Manic Mosh Interview with Fast Evil singer Lucas Mesquita:
MMM: How did the band get together and had any of its members been active in other Metal bands?
Lucas: It all began when I got a call from guitarist Diego Dourado, inviting me to form a Speed Metal band, and I accepted from the start, because I already wanted to play Speed Metal. A few days later, we got together with the bassist, Marcos Andrade and the drummer, Luis Neto, and marked the first rehearsals where the first songs emerged.
MMM: Is there also an European SpeedMetal influence as there is – either intentionally or not – connections with bands such as Iron Angel and Living Death?
Lucas: Of couse! Iron Angel and Living Death are bands that influenced like you have noticed. Our biggest influences comes from Old School Metal, going from New Wave Of British Heavy Metal to 80's Speed/Thrash Metal.
MMM: The song “Metal Is Back” shows a completely different vocal style, almost as if it came from another recording session.
Lucas: As its title suggests, the theme of "Metal Is Back" is that Metal returned and always will be returning as long as the flame of Metal burns in the Headbangers hearts. So I decided to put a more expressive vocal style as possible to show that crazy and explosive feeling of passion for the Metal. Then we chose to put this track as the last of the EP "Wake Up The Devil" on purpose.
MMM: Is there any other Fast Evil material in circulation or is this the very first material being released?
Lucas: First we released a lyric video for the song "Metal Is Back" as a single only on YouTube, and next we released the EP "Wake Up The Devil", which is officially our first physical material
MMM: Blackened Thrash and traditional Speed Metal are incredibly popular in Brazil... is this a snowball-effect as most bands are either in one or the other...
Lucas: Yes, I believe that is caused by the influence from the Brazilian bands Sarcórfago and Sepultura, which in the 80's showed a more dark and heavy sonority. Since that time they have influenced generations of new Brazilian bands
MMM: How is the local scene Metal wise, and are there opportunities to play live?
Lucas: It is diversified and the most influential styles are Speed/Thrash, Death and Black Metal. During the year, some producers do Underground events that usually happen in parkings or other alternative places in order to reduce costs. But sometimes there are more well produced events in the show house "Bueiro Do Rock" which is the only place geared towards the local Metal scene.
MMM: How many Fast Evil are there at the moment and could you name titles.
Lucas: In total we have 11 songs: Ritual of Sacrifice, Evil Maniacs, Hell Angel, Living At The Speed, Japanese Killer, Night Of Dead, Cry Out, She Is The Devil, Confines Of Hell, Fight For Your Mind, and Hellboss
FAST EVIL link:: https://www.facebook.com/FastevilBand
Manic Mosh Interview with Fast Evil singer Lucas Mesquita:
MMM: How did the band get together and had any of its members been active in other Metal bands?
Lucas: It all began when I got a call from guitarist Diego Dourado, inviting me to form a Speed Metal band, and I accepted from the start, because I already wanted to play Speed Metal. A few days later, we got together with the bassist, Marcos Andrade and the drummer, Luis Neto, and marked the first rehearsals where the first songs emerged.
MMM: Is there also an European SpeedMetal influence as there is – either intentionally or not – connections with bands such as Iron Angel and Living Death?
Lucas: Of couse! Iron Angel and Living Death are bands that influenced like you have noticed. Our biggest influences comes from Old School Metal, going from New Wave Of British Heavy Metal to 80's Speed/Thrash Metal.
MMM: The song “Metal Is Back” shows a completely different vocal style, almost as if it came from another recording session.
Lucas: As its title suggests, the theme of "Metal Is Back" is that Metal returned and always will be returning as long as the flame of Metal burns in the Headbangers hearts. So I decided to put a more expressive vocal style as possible to show that crazy and explosive feeling of passion for the Metal. Then we chose to put this track as the last of the EP "Wake Up The Devil" on purpose.
MMM: Is there any other Fast Evil material in circulation or is this the very first material being released?
Lucas: First we released a lyric video for the song "Metal Is Back" as a single only on YouTube, and next we released the EP "Wake Up The Devil", which is officially our first physical material
MMM: Blackened Thrash and traditional Speed Metal are incredibly popular in Brazil... is this a snowball-effect as most bands are either in one or the other...
Lucas: Yes, I believe that is caused by the influence from the Brazilian bands Sarcórfago and Sepultura, which in the 80's showed a more dark and heavy sonority. Since that time they have influenced generations of new Brazilian bands
MMM: How is the local scene Metal wise, and are there opportunities to play live?
Lucas: It is diversified and the most influential styles are Speed/Thrash, Death and Black Metal. During the year, some producers do Underground events that usually happen in parkings or other alternative places in order to reduce costs. But sometimes there are more well produced events in the show house "Bueiro Do Rock" which is the only place geared towards the local Metal scene.
MMM: How many Fast Evil are there at the moment and could you name titles.
Lucas: In total we have 11 songs: Ritual of Sacrifice, Evil Maniacs, Hell Angel, Living At The Speed, Japanese Killer, Night Of Dead, Cry Out, She Is The Devil, Confines Of Hell, Fight For Your Mind, and Hellboss
FAST EVIL link:: https://www.facebook.com/FastevilBand
AXEMASTER – 2017 “Crawling Chaos”
label: Pure Steel records
songs: 10,000 Pound Hammer / Crawling Chaos / Axes Of Evil / Flowers For The Dead / Mystify The Dream Hypnotic / Aldar Rof / Shallow Grave / Death Before Dishonor / Bravado / Knight of Pai //
web: www.axemasterofficial.com
Follow-up to the 2015 “Overture To Madness” comeback album by these Veteran 80's Metalers that first vinylzed their material in '87 with the “Blessing In The Skies” album. The new album does not remind much of the original Axemaster sound, apart from the re-recorded '88 PowerMetaler “Death Before Dishonor”; one of the better, more energetic picks of the set, along with “Knight Of Pai”, both of which are the only moments that double-bass drummage is applied. The greater part of the album rolls on a slow to moderate tempo, engaging a modern take on classic (90's) PowerMetal, pushed forward on the technical edged titletrack, and the slightly NWOBHM infused “Aldar Rof”. The guitars are pretty heavy for the thing this band is into, tending towards Thrash in sound and appearance. This also adds extra bite to the more grinding PowerMetal pounders “10.000 Pound Hammer” and “Crawling Chaos”. With an absence of speedsters and differentiation in tempo, and songs generally clocking in over 4 minutes, the set tends to sound a bit samey and lengthy in places. “Crawling Chaos” is a decent album but it could have had more with some added spark.
Paul van der Burght
label: Pure Steel records
songs: 10,000 Pound Hammer / Crawling Chaos / Axes Of Evil / Flowers For The Dead / Mystify The Dream Hypnotic / Aldar Rof / Shallow Grave / Death Before Dishonor / Bravado / Knight of Pai //
web: www.axemasterofficial.com
Follow-up to the 2015 “Overture To Madness” comeback album by these Veteran 80's Metalers that first vinylzed their material in '87 with the “Blessing In The Skies” album. The new album does not remind much of the original Axemaster sound, apart from the re-recorded '88 PowerMetaler “Death Before Dishonor”; one of the better, more energetic picks of the set, along with “Knight Of Pai”, both of which are the only moments that double-bass drummage is applied. The greater part of the album rolls on a slow to moderate tempo, engaging a modern take on classic (90's) PowerMetal, pushed forward on the technical edged titletrack, and the slightly NWOBHM infused “Aldar Rof”. The guitars are pretty heavy for the thing this band is into, tending towards Thrash in sound and appearance. This also adds extra bite to the more grinding PowerMetal pounders “10.000 Pound Hammer” and “Crawling Chaos”. With an absence of speedsters and differentiation in tempo, and songs generally clocking in over 4 minutes, the set tends to sound a bit samey and lengthy in places. “Crawling Chaos” is a decent album but it could have had more with some added spark.
Paul van der Burght
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BLACK MASS Bar and Club
address: 8 King Street, Wakefield,WF1 2SQ United Kingdom
web: https://www.facebook.com/blackmassbar
opening times: Mo – Thu: 17:30 – 00:00, Fri, Sat: 17:30 – 02:30, Sun: 17:30 – 00:00
Black Mass Bar and Club is a Rock / Metal bar and live venue with Metal Club Nights, Rockaoke, and live bands on a regular basis.
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HELLOBORUS – single 2017 “Prayer Of The Undying”
label: private
web: https://helleborusblack.bandcamp.com/
One song affair by this Colorado Springs based brother duo, showcasing a brand of 90's, Gothic sphered Nordic Death / BlackMetal with light hints of the Industrial thing that are most prominent in the beginning of the song where the mood is melancholic with level tone, talk-type vocals. As the song develops, the whole concept intensifies in a modern fashion with hyper double-bass drums, growling gruntage, and mobility guitar leads. “Prayer Of The Undying” clocks in over 7 minutes of playing time, but there's enough in there to keep things interesting. Textbook, modern style Death / BlackMetal.
Paul van der Burght
label: private
web: https://helleborusblack.bandcamp.com/
One song affair by this Colorado Springs based brother duo, showcasing a brand of 90's, Gothic sphered Nordic Death / BlackMetal with light hints of the Industrial thing that are most prominent in the beginning of the song where the mood is melancholic with level tone, talk-type vocals. As the song develops, the whole concept intensifies in a modern fashion with hyper double-bass drums, growling gruntage, and mobility guitar leads. “Prayer Of The Undying” clocks in over 7 minutes of playing time, but there's enough in there to keep things interesting. Textbook, modern style Death / BlackMetal.
Paul van der Burght
MIDNITE HELLION – 2017 “Condemned To Hell”
label: Witches Brew
songs: Black And White / Death Dealer / Cross The Line / Enter The Nightmare / Soldiers Of Hades / The Fever / Rip It Up / The Morrigan / Teenage Bloodsuckin' Bimbos //
web: http://www.midnitehellion.com
Newest release by this Trenton (USA) based three-piece, gelling the sound of mid-late 80's Thrash Metal and Crossover / HardCore Metal with shades of Heavy Metal. The Crossover (Thrash) thing is most prominent on songs such as “Cross The Line” and “Black And White” whilst the PunkMetal sound surrounds tracks such as the Punked-up Anvil-esque “Death Dealer” and “Enter The Nightmare”. The Metal element is high up on the mid-paced “Soldiers Of Hate”, “The Fever” and the classic, NWOBHM riffed “The Morrigan” but the vocals overrule in Punk / Crossover format, as is the case on the whole of the set. Nice touch is the application of balanced guitar solos. Overall appearance of the music is quite raw, fairly straight-forward and mainly mid-tempo driven with faster moments in the shape of the up-tempo “Black And White” and the sticky riff groovster “Rip It Up”. OK
Paul van der Burght
label: Witches Brew
songs: Black And White / Death Dealer / Cross The Line / Enter The Nightmare / Soldiers Of Hades / The Fever / Rip It Up / The Morrigan / Teenage Bloodsuckin' Bimbos //
web: http://www.midnitehellion.com
Newest release by this Trenton (USA) based three-piece, gelling the sound of mid-late 80's Thrash Metal and Crossover / HardCore Metal with shades of Heavy Metal. The Crossover (Thrash) thing is most prominent on songs such as “Cross The Line” and “Black And White” whilst the PunkMetal sound surrounds tracks such as the Punked-up Anvil-esque “Death Dealer” and “Enter The Nightmare”. The Metal element is high up on the mid-paced “Soldiers Of Hate”, “The Fever” and the classic, NWOBHM riffed “The Morrigan” but the vocals overrule in Punk / Crossover format, as is the case on the whole of the set. Nice touch is the application of balanced guitar solos. Overall appearance of the music is quite raw, fairly straight-forward and mainly mid-tempo driven with faster moments in the shape of the up-tempo “Black And White” and the sticky riff groovster “Rip It Up”. OK
Paul van der Burght
STUNNER – EP 2017 “Nightfighter”
label: private
songs: Nightfighter / Emerald Road - Cosmic Chariot / Soldier Of Death //
web: https://stunnernwothm.bandcamp.com/
Premier appearance by this U.S.A based 4-piece that is tagged as a NWOTHM / Heavy Metal Rock And Roll outfit. Throw in some Stoner type Doom with a Sabbath-ish sidekick, and finish the whole thing off with some strong NWOBHM flavourings early Maiden style and that pretty much sums up this 3-songer. The mid-paced and riff based“Nightfighter” testifies to all this, merging the likes of Tank (vocally) and Maiden's “Runnin' Free” before it picks up speed. The Stoner Doom grooved up-tempo “Emerald Road” crosses paths with the NOWBHM thing in an Avenger / Blitzkrieg style, atmosphere and vocal wise. The Tank / early-Maiden sound comes re-appearing on the mid-paced and riff-based “Soldier Of Death” with the guitar riffage in full Iron Maiden modus. Stunner has a very honest and unpolished approach that compliments the old-school feel that is all over this EP that largely identifies with the independent NWOBHM vinyls of the early 80's. Nice.
Paul van der Burght
INTERVIEW MANIC MOSH METAL – STUNNER
MANIC MOSH METAL: Stunner almost sounds like a Stoner band that turned NWOBHM; is there a click with the Stoner thing in some shape or form, say previous bands or was this sound a set choice right from the start?
Dan / Stunner: I guess we've all played in stoner bands, Mitch used to be in Orbiter, and Peter and Johnald Fairplay are in In the Stone and Ceremonial Hammer respectively. Also I live in a swamp and I'm from Louisiana originally so it makes sense I guess we'd kinda sound like that.
MMM: What are the inspirational sources of the band? There clearly is a strong Maiden taste throughout, but the songs “Nightfighter” and “Soldier Of Death” also connect with Tank on more than one occasion...
Dan / Stunner: You pretty much nailed it as far as Maiden and Sabbath go; I guess that's pretty obvious listening to the record. I kinda grew up on a lot of this stuff, and Tank was one of the first bands from the NWOBHM I fell in love with. But we love all that stuff. Personally with Stunner I've tried to take the approach of bands like Girlschool in writing songs that have almost a Pop sensibility. Something that kinda gets stuck in your head, yknow?
MMM: With so many New Wave Of Traditional Heavy Metal bands and releases around, 'competition' is almost as fierce as it was back in 80's. Do you think the Stoner / Doom edge might have given the band this little extra to make a difference from the bulk of bands in the traditional styles?
Dan / Stunner: The New Wave Of Heavy Metal, and honestly, I don't think of it in a competitive aspect at all. The World can only benefit from there being great Heavy Metal in it!
MMM: The “Nightfighter” EP has a very honest, unpolished sound with a certain, demo-status / beginners band attitude and feel. Did you guys opt for this sound or was this a budget thing?
Dan / Stunner: We kind of set out to give it a bit of a raw quality. We're not a very polished sounding band and we're O.K with that. We did the whole recording live except for the vocals and some of the guitar solos.
MMM: Did you guys expect the band to be picked up this swiftly?
Dan / Stunner: Stunner is probably more ;successful; than any of us probably ever would have dreamed. The reception from fans has been incredible, and people from all over the World have shown us love. We're very grateful for that.
MMM: Is there any plans to record a full-length album and has there been any label interest?
Dan / Stunner: We're planning on doing a full length soon and probably an East Coast tour. We just got a van so we're in the early process of getting all that rolling. NIGHTFIGHTER is getting a tape release on a very cool label, which we'll be announcing soon so be on the lookout for that.
MMM: Anything else you'd like to add..
Dan / Stunner: I'd like to take the opportunity to plug the other bands; the guys from Stunner are in ROT IN COFFINS www.rotincoffins.bandcamp.com IN THE STONE www.inthestone.bandcamp.com
and DOZIER www.dozier666.bandcamp.com
all very heavy bands that fucking totally rip and I can say that because I'm not in any of them. Thanks Manic Mosh Metal for the great review of NIGHTFIGHTER and for spreading the word of HEAVY METAL
label: private
songs: Nightfighter / Emerald Road - Cosmic Chariot / Soldier Of Death //
web: https://stunnernwothm.bandcamp.com/
Premier appearance by this U.S.A based 4-piece that is tagged as a NWOTHM / Heavy Metal Rock And Roll outfit. Throw in some Stoner type Doom with a Sabbath-ish sidekick, and finish the whole thing off with some strong NWOBHM flavourings early Maiden style and that pretty much sums up this 3-songer. The mid-paced and riff based“Nightfighter” testifies to all this, merging the likes of Tank (vocally) and Maiden's “Runnin' Free” before it picks up speed. The Stoner Doom grooved up-tempo “Emerald Road” crosses paths with the NOWBHM thing in an Avenger / Blitzkrieg style, atmosphere and vocal wise. The Tank / early-Maiden sound comes re-appearing on the mid-paced and riff-based “Soldier Of Death” with the guitar riffage in full Iron Maiden modus. Stunner has a very honest and unpolished approach that compliments the old-school feel that is all over this EP that largely identifies with the independent NWOBHM vinyls of the early 80's. Nice.
Paul van der Burght
INTERVIEW MANIC MOSH METAL – STUNNER
MANIC MOSH METAL: Stunner almost sounds like a Stoner band that turned NWOBHM; is there a click with the Stoner thing in some shape or form, say previous bands or was this sound a set choice right from the start?
Dan / Stunner: I guess we've all played in stoner bands, Mitch used to be in Orbiter, and Peter and Johnald Fairplay are in In the Stone and Ceremonial Hammer respectively. Also I live in a swamp and I'm from Louisiana originally so it makes sense I guess we'd kinda sound like that.
MMM: What are the inspirational sources of the band? There clearly is a strong Maiden taste throughout, but the songs “Nightfighter” and “Soldier Of Death” also connect with Tank on more than one occasion...
Dan / Stunner: You pretty much nailed it as far as Maiden and Sabbath go; I guess that's pretty obvious listening to the record. I kinda grew up on a lot of this stuff, and Tank was one of the first bands from the NWOBHM I fell in love with. But we love all that stuff. Personally with Stunner I've tried to take the approach of bands like Girlschool in writing songs that have almost a Pop sensibility. Something that kinda gets stuck in your head, yknow?
MMM: With so many New Wave Of Traditional Heavy Metal bands and releases around, 'competition' is almost as fierce as it was back in 80's. Do you think the Stoner / Doom edge might have given the band this little extra to make a difference from the bulk of bands in the traditional styles?
Dan / Stunner: The New Wave Of Heavy Metal, and honestly, I don't think of it in a competitive aspect at all. The World can only benefit from there being great Heavy Metal in it!
MMM: The “Nightfighter” EP has a very honest, unpolished sound with a certain, demo-status / beginners band attitude and feel. Did you guys opt for this sound or was this a budget thing?
Dan / Stunner: We kind of set out to give it a bit of a raw quality. We're not a very polished sounding band and we're O.K with that. We did the whole recording live except for the vocals and some of the guitar solos.
MMM: Did you guys expect the band to be picked up this swiftly?
Dan / Stunner: Stunner is probably more ;successful; than any of us probably ever would have dreamed. The reception from fans has been incredible, and people from all over the World have shown us love. We're very grateful for that.
MMM: Is there any plans to record a full-length album and has there been any label interest?
Dan / Stunner: We're planning on doing a full length soon and probably an East Coast tour. We just got a van so we're in the early process of getting all that rolling. NIGHTFIGHTER is getting a tape release on a very cool label, which we'll be announcing soon so be on the lookout for that.
MMM: Anything else you'd like to add..
Dan / Stunner: I'd like to take the opportunity to plug the other bands; the guys from Stunner are in ROT IN COFFINS www.rotincoffins.bandcamp.com IN THE STONE www.inthestone.bandcamp.com
and DOZIER www.dozier666.bandcamp.com
all very heavy bands that fucking totally rip and I can say that because I'm not in any of them. Thanks Manic Mosh Metal for the great review of NIGHTFIGHTER and for spreading the word of HEAVY METAL
RITES TO SEDITION – 2018 “ANCESTRAL BLOOD”
label: private
songs: Advent / Waveform 66 / The Lunar Approach / The Moon Titan Phylon / Echelons Of Imposition / Ancestral Blood / Spells And Incantations / Sorcerers Of Atlantis / Wartide / The Soul-Mind Catechism / The Golden Aeon Of Saturnia / Bonus Track //
web: https://www.facebook.com/pg/Rites-to-Sedition-499161806854864/
“Ancestral Blood” is the debut album by North Carolina (USA) based act Rites To Sedition, opting for a modern, melodic Death Metal sound with Nordic / Black Metal moments. The band has slipped in a considerable structural diversity that has given plenty of room to 'breathe' down song durations of well over 7 minutes (“Echelons Of Imposition”, “Ancestral Blood”) up to and over 10+ and 11+ minutes (“The Moon Titan Phylon”, “The Golden Aeon Of Saturnia”). As such, Rites Of Sedition does not sound too technical or complex, as evidenced down the 'instrumental' mid / solo-section of “Waveform 66”. Songs are all driven by non-stop double bass drummage and a lot of mobility guitar riffage, also push forward on the opening tune, “Waveform 66”. Singer Brian Kingsland lays down a deep, growling grunt vocalage that nicely blends in with the 'neat' appearance of the music as a whole, which is further complimented by this 'polished' production. The Nordic elements comes of the atmospheres and high-low & reversed rhythm riffage, and takes a turn towards slightly Folk rooted themes on the Progressive-turns-Nordic Black Metaler “The Moon Titan Phylon”. In all, an album well taken care of in the more modest regions of the Death / Black Metal genre. Neat
Paul van der Burght
label: private
songs: Advent / Waveform 66 / The Lunar Approach / The Moon Titan Phylon / Echelons Of Imposition / Ancestral Blood / Spells And Incantations / Sorcerers Of Atlantis / Wartide / The Soul-Mind Catechism / The Golden Aeon Of Saturnia / Bonus Track //
web: https://www.facebook.com/pg/Rites-to-Sedition-499161806854864/
“Ancestral Blood” is the debut album by North Carolina (USA) based act Rites To Sedition, opting for a modern, melodic Death Metal sound with Nordic / Black Metal moments. The band has slipped in a considerable structural diversity that has given plenty of room to 'breathe' down song durations of well over 7 minutes (“Echelons Of Imposition”, “Ancestral Blood”) up to and over 10+ and 11+ minutes (“The Moon Titan Phylon”, “The Golden Aeon Of Saturnia”). As such, Rites Of Sedition does not sound too technical or complex, as evidenced down the 'instrumental' mid / solo-section of “Waveform 66”. Songs are all driven by non-stop double bass drummage and a lot of mobility guitar riffage, also push forward on the opening tune, “Waveform 66”. Singer Brian Kingsland lays down a deep, growling grunt vocalage that nicely blends in with the 'neat' appearance of the music as a whole, which is further complimented by this 'polished' production. The Nordic elements comes of the atmospheres and high-low & reversed rhythm riffage, and takes a turn towards slightly Folk rooted themes on the Progressive-turns-Nordic Black Metaler “The Moon Titan Phylon”. In all, an album well taken care of in the more modest regions of the Death / Black Metal genre. Neat
Paul van der Burght
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MANACLE – 2018 “No Fear To Persevere”
label: No Remorse records
songs: Fight For Your Life / Tears Of Wrath / Journey's End / Live Fast, Die Fast / Witches Hallow / Stand Tall //
web: https://www.facebook.com/manaclemetal
Debut album by this Canadian unit, addressing to mid-80's U.S. Metal / Metal with an European root. With that comes a strong Savage Grace flavour (minus the speed element) that is pushed forward on the multi-paced “Tears Of Wrath” and the driven mid / up-tempo “Journey's End”, drawing similarities to “Fear My Way” (Savage Grace), meshed with Omen in places. Material is mainly Metal oriented and mid / up tempo driven, increasing to SpeedMetal on “Fight For Your Life” as the song develops. All out Euro Metal is presented on the mid-paced “Witches Hallow”, whereas “Live Fast, Die Fast” has this HardRock backbone with a Dio style riff over it. There's some good, all round shape shifting throughout, peaking on “Tears Of Wrath”, and the same pretty much applies to the variable, high-upper range falsetto vocals that comes with complimentary siren shrieks and (Power) Metal esque chants in the choruses. “No Fear To Persevere” does not have the spark to really differentiate in the traditional genre but as per definition with Canadian bands, the whole deal is nicely, textbook played and entertaining. OK
Paul van der Burght
label: No Remorse records
songs: Fight For Your Life / Tears Of Wrath / Journey's End / Live Fast, Die Fast / Witches Hallow / Stand Tall //
web: https://www.facebook.com/manaclemetal
Debut album by this Canadian unit, addressing to mid-80's U.S. Metal / Metal with an European root. With that comes a strong Savage Grace flavour (minus the speed element) that is pushed forward on the multi-paced “Tears Of Wrath” and the driven mid / up-tempo “Journey's End”, drawing similarities to “Fear My Way” (Savage Grace), meshed with Omen in places. Material is mainly Metal oriented and mid / up tempo driven, increasing to SpeedMetal on “Fight For Your Life” as the song develops. All out Euro Metal is presented on the mid-paced “Witches Hallow”, whereas “Live Fast, Die Fast” has this HardRock backbone with a Dio style riff over it. There's some good, all round shape shifting throughout, peaking on “Tears Of Wrath”, and the same pretty much applies to the variable, high-upper range falsetto vocals that comes with complimentary siren shrieks and (Power) Metal esque chants in the choruses. “No Fear To Persevere” does not have the spark to really differentiate in the traditional genre but as per definition with Canadian bands, the whole deal is nicely, textbook played and entertaining. OK
Paul van der Burght
ASTRAY VALLEY – single 2017 “Singularity”
label: Wormholedeath
web: https://www.facebook.com/AstrayValley/
Female fronted act engaging some Modern Metal patterned upon a mobile agility riff, lots of double-bass drum action, powergrooves and some melodic, Goth-esque chants. There's quite a bit happening down the music over its main, moderate pace, but what really makes this thing are the well intense, OTT scream vocals of singer Clau Violette. Convincing.
Paul van der Burght
label: Wormholedeath
web: https://www.facebook.com/AstrayValley/
Female fronted act engaging some Modern Metal patterned upon a mobile agility riff, lots of double-bass drum action, powergrooves and some melodic, Goth-esque chants. There's quite a bit happening down the music over its main, moderate pace, but what really makes this thing are the well intense, OTT scream vocals of singer Clau Violette. Convincing.
Paul van der Burght
SUBSTRATUM – 2018 “Permission To Rock”
label: private
songs: Rough Rider / Cemetary Of State / Locked And Loaded (You'll Never Live Again) / To Nothing, To None / Exxtremer (Permission To Rock) / Zero To Infinity / The Source Of All Creation / Triangulum / Up On Wheels //
web: https://substratum-seattle.bandcamp.com/
Yet another enjoyable old-school release by this Seattle based unit, featuring all three songs from the “Rough Rider” demo tape, along with six new numbers. What it basically comes down to here is some kick-ass, early 80's U.S. Metal with strong Euro-HardRock sourcing that recalls Judas Priest on more than one occasion, as clearly evidenced on “Rough Rider” and “To Nothing To None”. The moderately / mid paced pounder “Permission To Rock” sort of merges the classic Euro thing a la Doro and The Scorpions with a fairly generic U.S GlamRock / Mainstream meets Accept's “Balls To The Wall” style shout along chorus. The set as a whole pretty much goes by the principle of less = more, concentrating on catchy, easy going themes without any frills. With that comes an absence of power that made previous works rock. The rough edged and talk-type vocalage of female singer Amy Lee Carlson still is one of the main assets of the band, along with the driving mobility drummage of Eric Smith that shines on “To Nothing, To None”. Although the album as a product has become rather linear it still manages to entertain with “Locked And Loaded”, “Zero To Infinity” and “The Source Of All Creation” as the best picks. O.K
Paul van der Burght
label: private
songs: Rough Rider / Cemetary Of State / Locked And Loaded (You'll Never Live Again) / To Nothing, To None / Exxtremer (Permission To Rock) / Zero To Infinity / The Source Of All Creation / Triangulum / Up On Wheels //
web: https://substratum-seattle.bandcamp.com/
Yet another enjoyable old-school release by this Seattle based unit, featuring all three songs from the “Rough Rider” demo tape, along with six new numbers. What it basically comes down to here is some kick-ass, early 80's U.S. Metal with strong Euro-HardRock sourcing that recalls Judas Priest on more than one occasion, as clearly evidenced on “Rough Rider” and “To Nothing To None”. The moderately / mid paced pounder “Permission To Rock” sort of merges the classic Euro thing a la Doro and The Scorpions with a fairly generic U.S GlamRock / Mainstream meets Accept's “Balls To The Wall” style shout along chorus. The set as a whole pretty much goes by the principle of less = more, concentrating on catchy, easy going themes without any frills. With that comes an absence of power that made previous works rock. The rough edged and talk-type vocalage of female singer Amy Lee Carlson still is one of the main assets of the band, along with the driving mobility drummage of Eric Smith that shines on “To Nothing, To None”. Although the album as a product has become rather linear it still manages to entertain with “Locked And Loaded”, “Zero To Infinity” and “The Source Of All Creation” as the best picks. O.K
Paul van der Burght
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ENEMYNSIDE – EP 2018 “Dead Nation Army” EP
label: Hatestone records
songs: For All The Jerks / Devil In Disguise / Buried Past / Involution (R)evolution //
web: www.enemynside.com/
Italian act that, in its early years was known as Scapegoat and first debuted as Enymynside in '00 with the “From The Cradle To The Way” demo tape. The “Dead Nation Army” E.P is their latest offering, and though comparisons to later Metallica frequent this release, it is mainly the vocalage that relates to this, and though drives and programming of certain songs, such as “For All The Jerks” click with the aformentioned as well, one has slipped in more 'trademark' Bay Area Thrash elements in the riff department, as well as backing shouts. Both these characteristics are pushed forward in the more Testament esque “Devil In Disguise” and the slower, Wargasm tinged “Involution, (R)evolution” (without the shouts). In all, this is one energetic, classic Thrash affair with a good, allround delivery.
Paul van der Burght
label: Hatestone records
songs: For All The Jerks / Devil In Disguise / Buried Past / Involution (R)evolution //
web: www.enemynside.com/
Italian act that, in its early years was known as Scapegoat and first debuted as Enymynside in '00 with the “From The Cradle To The Way” demo tape. The “Dead Nation Army” E.P is their latest offering, and though comparisons to later Metallica frequent this release, it is mainly the vocalage that relates to this, and though drives and programming of certain songs, such as “For All The Jerks” click with the aformentioned as well, one has slipped in more 'trademark' Bay Area Thrash elements in the riff department, as well as backing shouts. Both these characteristics are pushed forward in the more Testament esque “Devil In Disguise” and the slower, Wargasm tinged “Involution, (R)evolution” (without the shouts). In all, this is one energetic, classic Thrash affair with a good, allround delivery.
Paul van der Burght
SINSID – 2018 “Mission From Hell”
label: Pitch Black records
songs: The Sinsid Prelude / Steel Riders / Hellhammer / Sons Of The North / Infernal Pit / Revenge By Death / Mission From Hell / Union Sign / Lost & Lonely / Land Of Doom //
web: https://www.facebook.com/sinsidband
Norwegian act forking out some classic, 80's styled HardRock / Metal on this 10-song debut. After a lengthy intro, that band kicks off with the all out Euro Metal Headbanger that is “Steel Riders”, gelling the sounds of Gravedigger, Angus and Killer, followed by amore tempered HardRock /Metal approach with a Blues rooted riff. The pace slows further down on “Sons Of The North”, employing a Dutch Metal syle somewhere in between Dark Wizard, Vortex, and again, Angus. The album plods on with more mid / up-tempo tracks including two anthemic, shout along tracks; “Revenge By Death” and “Mission From Hell”, plus the ballad-turns-climaxing, Trance-alike HardRocker “Lost And Lonely” to conclude the album in a slow, grinding modus a la Anvil with “Land Of Doom”. There's a good diversity flow in concept, over rather straight forward song structures that account for catchy, accessible themes with an all round 'True Metal' vibe, complimented by a deep and distinctive muscular vocal roar. The guitar action is a definite plus throughout, over against a flat mix/ production, particularly in the drum department. Sinsid have the charm of the traditional Mausoleum records bands from the 80's, and with that comes a similar, not entirely developed sound. Nonetheless, quite entertaining overall.
Paul van der Burght
label: Pitch Black records
songs: The Sinsid Prelude / Steel Riders / Hellhammer / Sons Of The North / Infernal Pit / Revenge By Death / Mission From Hell / Union Sign / Lost & Lonely / Land Of Doom //
web: https://www.facebook.com/sinsidband
Norwegian act forking out some classic, 80's styled HardRock / Metal on this 10-song debut. After a lengthy intro, that band kicks off with the all out Euro Metal Headbanger that is “Steel Riders”, gelling the sounds of Gravedigger, Angus and Killer, followed by amore tempered HardRock /Metal approach with a Blues rooted riff. The pace slows further down on “Sons Of The North”, employing a Dutch Metal syle somewhere in between Dark Wizard, Vortex, and again, Angus. The album plods on with more mid / up-tempo tracks including two anthemic, shout along tracks; “Revenge By Death” and “Mission From Hell”, plus the ballad-turns-climaxing, Trance-alike HardRocker “Lost And Lonely” to conclude the album in a slow, grinding modus a la Anvil with “Land Of Doom”. There's a good diversity flow in concept, over rather straight forward song structures that account for catchy, accessible themes with an all round 'True Metal' vibe, complimented by a deep and distinctive muscular vocal roar. The guitar action is a definite plus throughout, over against a flat mix/ production, particularly in the drum department. Sinsid have the charm of the traditional Mausoleum records bands from the 80's, and with that comes a similar, not entirely developed sound. Nonetheless, quite entertaining overall.
Paul van der Burght
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BLOODGOD – EP 2017 “Catharsis”
label: private
songs: Valar Morghulis / Catharsis / Hammerite / 't Schrickelik Tempeest / Satan's Smile //
web: http://www.bloodgod.nl https://bloodgod.bandcamp.com/
Second outlet by this Dutch DeathMetal 3-piece phasing Tampa style DeathMetal and classic Swedish DeathMetal to Thrash in a primarlily, moderately paced fashion with faster moments in the shape of the crunchy, slow-fast Swedish styled “Catharsis” and the one-off use of blast beats down “Valar Morhulis”; a thrusting, chainsaw riffed 90's DeathMetaler that has Tampa / Morrisound written all over. This comes complete with 'trademark' double bass drummage, bassdrum-riff synchronisation and a combination of deep, gurgling grunts and OTT scream vocals in the DeathThrash likes. Things are given a more technical, almost Thrash like guitar approach down the bobbing, moderately paced, staccato riffed “Hammerite”, and the bobbing, slow-paced “t Schrickelik Tempeest” the latter which is grunted in native Dutch tongue! “Satan's Smile” follows the Thrash pattern but this time, there's a dark-ish mood surrounding the song. Overall, the band works a lot with Progressive / technical Thrash like riff-patterns over propelling double-bass – staccato riff layers that mainly move in a moderate pace, adding up to the allround impact of the material. This is one convincing and enjoyable, retro DeathMetal affair that comes with a clear, powerpunch production mastered by Jacob Hansen (Aborted, Mercenary, Volbeat, Pestilence, etc). Solid!
Paul van der Burght
Interview Manic Mosh / Bloodgod drummer Johnny
MM: For a new band, you guys have a significantly 90's oriented sound with a strong Tampa / Morrisound appearance; was this a set choice or did the concept of the band just turn out to sound that way.
Johnny: When we started Bloodgod, we had no clear style or sound in mind. We sure as hell like that Swedish ‘swamp/buzzsaw’ sound propelled by the Boss HM-2 guitar pedal, as delivered by bands like Entombed, Dismember, Edge of Sanity, and Bloodbath. However, that sound is very recognizable. Such notable style element might also stick too tight to a certain sub genre and thus become a style restriction. In addition, our guitarist, Daan Douma, simply didn’t have a HM-2 pedal and he was very much into guitar icons like Dimebag, Zakk Wylde and Mark Morton (Lamb of God). So that’s where we started and eventually we ended up with a sound that has a Tampa Bay Area appearance as you have described it.
MMM: And what about anyinspirational source/s from that era such as the classic )(Swedish) DeathMetal sound...
Johnny: Absolutely, we simply can't ignore the heydays of death metal in the late ‘80s/early ‘90s, now can we? All those groundbreaking records that saw the light of day. Bands like Death, Cannibal Corpse, Atheist and Cynic were unprecedented and until today their influences can’t be overestimated. Not to mention exciting death/thrash metal crossover bands such as Demilition Hammer, Incubus (the proper one featuring the Howard bros, not that other lame one) and early Sepultura. So it’s hard to name only a few sources of inspiration. Our music is perhaps more clearly reminiscent of groovy metal acts like Pantera and Lamb of God. Add to that bands with both melody and aggressive energy such as At The Gates, Arch Enemy and Nevermore, and you have an idea of what we listen too.
MMM: The Death Metal scene in Holland was peaking in the 90's with quite a few acts claiming global fame, such as Pestilence and Gorefest. How is the scene at present day?
Johnny: Metal music, in particular the more extreme sub genres, will always have a small but devoted group of fans. Although Dutch death metal isn’t a successful export product as EDM, the Netherlands is still home to some excellent bands. Altar has been resurrected and is hitting the stages with an energetic new line-up, God Dethroned released a great new album earlier this year, Legion of the Damned is still going strong and has planned an Asian tour for early 2018, and you should also check out Inferum, an upcoming band that won the national Metal Battle band competition this year. As for our home town Utrecht, check out Shinigami, Disquiet, and Martyr (not Metal but HardRock veterans that are alive and kicking ass)
MMM: Russia and the East European regions have now become the hotbed for Death / BlackMetal and Thrash... has this also opened up opportunities for you guys?
Johnny: Not yet, but that would be great! We haven’t been any further that Germany at the moment, that was literally a step in the right direction but we’d love to head further east. Who knows what will come up…
MMM: The concept has a certain, Progressive / Technical Thrash feel in the riff department.... Is this brought forward from from a previous band(s) any of you were active in?
Johnny: Not really. Some previous bands include Nuestros Derechos (Thrash), Agents of Entropy (Neo-Crust), and Player (Slayer tribute), but the main reason some of our riffs have a Progressive / Technical feel is because our guitarist Daan is also Bloodgod’s main composer and he has a knack for such riffs.
MMM: There's a minimal presence of blast beats or fast tempos. Is there any faster tunes in the styles of “Catharsis”?
Johnny: Previously we’ve been exploring mid tempo, grooving Metal, more recently we’ve also rediscovered the energy and joys of up-tempo Thrash Metal. So yeah, some faster tunes are very probable in the foreseeable future.
MMM: The lyrics also have a humorous touch as evidenced on “Hammerite” which depicts a 'battle' between anti-rust paint and corrosion...
Johnny: Ha, glad you noticed! For us, good lyrics are a bonus that add to the whole experience of a song. For the latest EP our drummer Johnny wrote allmost all lyrics. One time he asked the others about some topics and Daan, having had some beers, half jokingly said “Hammerite”. He probably liked the sound of it and the fact that is was invented to protect Metal. Johnny didn’t want to back out. He felt the song had an Epic vibe and wrote the lyrics about this ‘battle’. Basically it’s a humble attempt to write an Epic Metal song about the equivalent of watching paint dry… The lyrics of “Valar Morghulis” are inspired by George RR Martin's “A Song Of Ice And Fire”, and the TV series 'Game Of Thrones', in particular the mysterious cult of assassins known as the Faceless Men, who worship death. “Catharsis” is about the Mosh pit as good clean violent fun and a great outlet for energetic stress release that even may even bring spiritual renewal in the process. “‘t Schrickelik Tempeest”, meaning 'the horrible tempest' in old Dutch, is about the violent storm of August 1, 1674 that hit the episcopal cathedral in our home town Utrecht and turned it into ruins. The rubble remained for over 150 years by the way. And “Satan’s Smile” is about the most heinous crimes of which history has record, all committed under the cover of religion.
MMM: Has there been any label interest?
Johnny: Not really, but truth is we haven’t been shopping very actively. Nowadays bands can do a lot themselves when it comes tot promoting and distributing music.
MMM: Any chance anything will be released on the traditional formats, vinyl and cassette?
Johnny: If a label would be interested in doing a release on a traditional format, we wouldn't mind. We simply haven’t done it yet from a cost perspective. Perhaps the next release. It partly depends on how quickly we’ve sold enough copies of ‘Catharsis’ to have a return on investment.
MMM: Anything else you'd like to add...
Johnny: Thank you very much for doing this interview and keep up the good work! We really appreciate your support of Underground Metal. . Horns up!
Bloodgod links: http://www.bloodgod.nl https://www.facebook.com/bloodgod.metal http://www.youtube.com/bloodgodmetal
label: private
songs: Valar Morghulis / Catharsis / Hammerite / 't Schrickelik Tempeest / Satan's Smile //
web: http://www.bloodgod.nl https://bloodgod.bandcamp.com/
Second outlet by this Dutch DeathMetal 3-piece phasing Tampa style DeathMetal and classic Swedish DeathMetal to Thrash in a primarlily, moderately paced fashion with faster moments in the shape of the crunchy, slow-fast Swedish styled “Catharsis” and the one-off use of blast beats down “Valar Morhulis”; a thrusting, chainsaw riffed 90's DeathMetaler that has Tampa / Morrisound written all over. This comes complete with 'trademark' double bass drummage, bassdrum-riff synchronisation and a combination of deep, gurgling grunts and OTT scream vocals in the DeathThrash likes. Things are given a more technical, almost Thrash like guitar approach down the bobbing, moderately paced, staccato riffed “Hammerite”, and the bobbing, slow-paced “t Schrickelik Tempeest” the latter which is grunted in native Dutch tongue! “Satan's Smile” follows the Thrash pattern but this time, there's a dark-ish mood surrounding the song. Overall, the band works a lot with Progressive / technical Thrash like riff-patterns over propelling double-bass – staccato riff layers that mainly move in a moderate pace, adding up to the allround impact of the material. This is one convincing and enjoyable, retro DeathMetal affair that comes with a clear, powerpunch production mastered by Jacob Hansen (Aborted, Mercenary, Volbeat, Pestilence, etc). Solid!
Paul van der Burght
Interview Manic Mosh / Bloodgod drummer Johnny
MM: For a new band, you guys have a significantly 90's oriented sound with a strong Tampa / Morrisound appearance; was this a set choice or did the concept of the band just turn out to sound that way.
Johnny: When we started Bloodgod, we had no clear style or sound in mind. We sure as hell like that Swedish ‘swamp/buzzsaw’ sound propelled by the Boss HM-2 guitar pedal, as delivered by bands like Entombed, Dismember, Edge of Sanity, and Bloodbath. However, that sound is very recognizable. Such notable style element might also stick too tight to a certain sub genre and thus become a style restriction. In addition, our guitarist, Daan Douma, simply didn’t have a HM-2 pedal and he was very much into guitar icons like Dimebag, Zakk Wylde and Mark Morton (Lamb of God). So that’s where we started and eventually we ended up with a sound that has a Tampa Bay Area appearance as you have described it.
MMM: And what about anyinspirational source/s from that era such as the classic )(Swedish) DeathMetal sound...
Johnny: Absolutely, we simply can't ignore the heydays of death metal in the late ‘80s/early ‘90s, now can we? All those groundbreaking records that saw the light of day. Bands like Death, Cannibal Corpse, Atheist and Cynic were unprecedented and until today their influences can’t be overestimated. Not to mention exciting death/thrash metal crossover bands such as Demilition Hammer, Incubus (the proper one featuring the Howard bros, not that other lame one) and early Sepultura. So it’s hard to name only a few sources of inspiration. Our music is perhaps more clearly reminiscent of groovy metal acts like Pantera and Lamb of God. Add to that bands with both melody and aggressive energy such as At The Gates, Arch Enemy and Nevermore, and you have an idea of what we listen too.
MMM: The Death Metal scene in Holland was peaking in the 90's with quite a few acts claiming global fame, such as Pestilence and Gorefest. How is the scene at present day?
Johnny: Metal music, in particular the more extreme sub genres, will always have a small but devoted group of fans. Although Dutch death metal isn’t a successful export product as EDM, the Netherlands is still home to some excellent bands. Altar has been resurrected and is hitting the stages with an energetic new line-up, God Dethroned released a great new album earlier this year, Legion of the Damned is still going strong and has planned an Asian tour for early 2018, and you should also check out Inferum, an upcoming band that won the national Metal Battle band competition this year. As for our home town Utrecht, check out Shinigami, Disquiet, and Martyr (not Metal but HardRock veterans that are alive and kicking ass)
MMM: Russia and the East European regions have now become the hotbed for Death / BlackMetal and Thrash... has this also opened up opportunities for you guys?
Johnny: Not yet, but that would be great! We haven’t been any further that Germany at the moment, that was literally a step in the right direction but we’d love to head further east. Who knows what will come up…
MMM: The concept has a certain, Progressive / Technical Thrash feel in the riff department.... Is this brought forward from from a previous band(s) any of you were active in?
Johnny: Not really. Some previous bands include Nuestros Derechos (Thrash), Agents of Entropy (Neo-Crust), and Player (Slayer tribute), but the main reason some of our riffs have a Progressive / Technical feel is because our guitarist Daan is also Bloodgod’s main composer and he has a knack for such riffs.
MMM: There's a minimal presence of blast beats or fast tempos. Is there any faster tunes in the styles of “Catharsis”?
Johnny: Previously we’ve been exploring mid tempo, grooving Metal, more recently we’ve also rediscovered the energy and joys of up-tempo Thrash Metal. So yeah, some faster tunes are very probable in the foreseeable future.
MMM: The lyrics also have a humorous touch as evidenced on “Hammerite” which depicts a 'battle' between anti-rust paint and corrosion...
Johnny: Ha, glad you noticed! For us, good lyrics are a bonus that add to the whole experience of a song. For the latest EP our drummer Johnny wrote allmost all lyrics. One time he asked the others about some topics and Daan, having had some beers, half jokingly said “Hammerite”. He probably liked the sound of it and the fact that is was invented to protect Metal. Johnny didn’t want to back out. He felt the song had an Epic vibe and wrote the lyrics about this ‘battle’. Basically it’s a humble attempt to write an Epic Metal song about the equivalent of watching paint dry… The lyrics of “Valar Morghulis” are inspired by George RR Martin's “A Song Of Ice And Fire”, and the TV series 'Game Of Thrones', in particular the mysterious cult of assassins known as the Faceless Men, who worship death. “Catharsis” is about the Mosh pit as good clean violent fun and a great outlet for energetic stress release that even may even bring spiritual renewal in the process. “‘t Schrickelik Tempeest”, meaning 'the horrible tempest' in old Dutch, is about the violent storm of August 1, 1674 that hit the episcopal cathedral in our home town Utrecht and turned it into ruins. The rubble remained for over 150 years by the way. And “Satan’s Smile” is about the most heinous crimes of which history has record, all committed under the cover of religion.
MMM: Has there been any label interest?
Johnny: Not really, but truth is we haven’t been shopping very actively. Nowadays bands can do a lot themselves when it comes tot promoting and distributing music.
MMM: Any chance anything will be released on the traditional formats, vinyl and cassette?
Johnny: If a label would be interested in doing a release on a traditional format, we wouldn't mind. We simply haven’t done it yet from a cost perspective. Perhaps the next release. It partly depends on how quickly we’ve sold enough copies of ‘Catharsis’ to have a return on investment.
MMM: Anything else you'd like to add...
Johnny: Thank you very much for doing this interview and keep up the good work! We really appreciate your support of Underground Metal. . Horns up!
Bloodgod links: http://www.bloodgod.nl https://www.facebook.com/bloodgod.metal http://www.youtube.com/bloodgodmetal
ZEPHYRA – 2017 “The Darkest Black”
label: Inverse records
web: http://zephyra.se
One-song affair by Swedish, female fronted 4-piece Zephyra, released whilst work on their third album is in progress. On offer is some 'orchestral' synths layered, symphonic PowerMetal that develops into a melodic Nu Metaler with a Gothic twist and 90's features in its mid-section. Completely in accordance with the genre, there's two vocals styles delivered by singer Åsa Netterbrant, alternating a 'clean' lower mid-range tone and melodic harmonies with a far more extreme, almost BlackMetal like raspy growl that is less frequent in appearance. Energetic, well structured happening that comes with a textbook performance.
Paul van der Burght
label: Inverse records
web: http://zephyra.se
One-song affair by Swedish, female fronted 4-piece Zephyra, released whilst work on their third album is in progress. On offer is some 'orchestral' synths layered, symphonic PowerMetal that develops into a melodic Nu Metaler with a Gothic twist and 90's features in its mid-section. Completely in accordance with the genre, there's two vocals styles delivered by singer Åsa Netterbrant, alternating a 'clean' lower mid-range tone and melodic harmonies with a far more extreme, almost BlackMetal like raspy growl that is less frequent in appearance. Energetic, well structured happening that comes with a textbook performance.
Paul van der Burght
MAGICK TOUCH – 2018 “Blades, Chains, Whips & Fire”
label: Edged Circle productions
songs: Under The Gun / The Great Escape / Midnite Sadusa / Believe In Magick / Polonium Blues / Siren Song / Lost With All Hands / After The Fire / Electrick Sorcery / Blades, Chains, Whips & Fire //
web: https://www.facebook.com/magicktouch
Norwegian power trio belting out their second Hard Rockin' and Fat Groovin' album that sticks right from the start, phasing old-school HardRock a la Thin Lizzy, with shades of John Norum (“The Great Escape” ), John Sykes and Glenn Hughes that is all layered with some thumping 90's HardRock that occasionally reminds of Skid Row (“Siren Song”). Songs are catchy and all grooved up with beefy guitars and a subtle, melodic undertone with some neat, Scandinavian fine tuning in the guitar department. There's quite a few riff-monsters in here all right, and Things take a turn towards A.O.R down “Believe in Magick” whilst retaining that kick. Two of its three band members handle vocal duties, ranging from a warm tone a la Phil Lynott (“The Great Escape”) to a more roughed up vocal style a la Sebastian Bach (“Siren Song”). The guitar riffage strongly relates to John Norum on more than one occasion and is most evident down “The Great Escape” and “Lost With All Hands”. Most straight forward Rocker is “Electrick Sorcery” which also holds the most melodic vocal delivery. This is one versatile and highly entertaining HardRock affair that perfectly revamps the traditional sound without being trendy or too old school type. Strong.
Paul van der Burght
label: Edged Circle productions
songs: Under The Gun / The Great Escape / Midnite Sadusa / Believe In Magick / Polonium Blues / Siren Song / Lost With All Hands / After The Fire / Electrick Sorcery / Blades, Chains, Whips & Fire //
web: https://www.facebook.com/magicktouch
Norwegian power trio belting out their second Hard Rockin' and Fat Groovin' album that sticks right from the start, phasing old-school HardRock a la Thin Lizzy, with shades of John Norum (“The Great Escape” ), John Sykes and Glenn Hughes that is all layered with some thumping 90's HardRock that occasionally reminds of Skid Row (“Siren Song”). Songs are catchy and all grooved up with beefy guitars and a subtle, melodic undertone with some neat, Scandinavian fine tuning in the guitar department. There's quite a few riff-monsters in here all right, and Things take a turn towards A.O.R down “Believe in Magick” whilst retaining that kick. Two of its three band members handle vocal duties, ranging from a warm tone a la Phil Lynott (“The Great Escape”) to a more roughed up vocal style a la Sebastian Bach (“Siren Song”). The guitar riffage strongly relates to John Norum on more than one occasion and is most evident down “The Great Escape” and “Lost With All Hands”. Most straight forward Rocker is “Electrick Sorcery” which also holds the most melodic vocal delivery. This is one versatile and highly entertaining HardRock affair that perfectly revamps the traditional sound without being trendy or too old school type. Strong.
Paul van der Burght
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BLOOD OF THE WOLF – 2018 “II: Campaign Of Extermination”
label: private
songs: Thunder The Drums Of War / Campaign Of Extermination / Beneditio Ultionis / : Their Blood For My Glory / Erupting Volcanic Wrath / The Sword Is My Light And My Salvation / Scorched Earth Ceremony / With Fire And A Thousand Flashing Blades / A Sermon Of Slaughtered Foes //
web: https://bloodofthewolf.bandcamp.com/
Follow-up to the 2015 “I: The Law Of Retaliation” debut. Stickered as a 'Blackened DeathMetal band', this Chicago based 4-piece goes through a set of 90's style extreme DeathMetal with a Nordic BlackMetal touch and deep, gurgling gruntage that occasionally makes the band land down GrindCore territories. Slowest offering on the disc is the mid-paced “Beneditio Ultionis”, whilst the Nordic / Atmospheric thing is pushed forward on “Eruptic Volcanic Wrath” and the hyper double bass drummed “With Fire And A Thousand Flashing Blades”. Convincing!
Paul van der Burght
label: private
songs: Thunder The Drums Of War / Campaign Of Extermination / Beneditio Ultionis / : Their Blood For My Glory / Erupting Volcanic Wrath / The Sword Is My Light And My Salvation / Scorched Earth Ceremony / With Fire And A Thousand Flashing Blades / A Sermon Of Slaughtered Foes //
web: https://bloodofthewolf.bandcamp.com/
Follow-up to the 2015 “I: The Law Of Retaliation” debut. Stickered as a 'Blackened DeathMetal band', this Chicago based 4-piece goes through a set of 90's style extreme DeathMetal with a Nordic BlackMetal touch and deep, gurgling gruntage that occasionally makes the band land down GrindCore territories. Slowest offering on the disc is the mid-paced “Beneditio Ultionis”, whilst the Nordic / Atmospheric thing is pushed forward on “Eruptic Volcanic Wrath” and the hyper double bass drummed “With Fire And A Thousand Flashing Blades”. Convincing!
Paul van der Burght
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ARMORY – 2018 "The Search"
label: High Roller records
songs: The Search / Hyperion / Rise Above/ Star Voyage / Vault Seven / Bringer Of Light / Heavy Metal Impact / The Twin Suns of Solaris / Utomjordisk Dominans / Polymorphic Intruders / Hisingen Warriors //
web: https://www.facebook.com/armoryofficial
Out of Gothenburg, Sweden comes Armory; a 5-piece act that hark back to the 80's Speedmetal sound, meshing the likes of Nuclear Assault, Agent Steel and Savage Grace. This follow-up to the 2016 “Cosmic War” debut pretty much moves in a high speed from start to finish with the tempo lowered for an guitar only interlude (“Star Voyage”), the intro to “Heavy Metal Impact” and down the rhythmic fragments of the muti-structured “Vault Seven”; one of the better picks of the album that also reveals the Swedish origin in its Heavy Load-esque chants that also come re-appearing in the Savage Grace esque “Bringer Of Light”. Band takes a turn towards a more melodic approach on “Utomjordisk Dominans” that works well for the vocalage, the more so as the main obstacle throughout the disc are the Punk-ish vocals, with an absence of raw power or bite to match the music or, alternative a more melodic approach as displayed here. Songs are riff-oriented and carry a sufficient diversity flow in melodies and riffage. The guitar feedback in the riff department connects with that of Savage Grace whilst the solo actions have this Flotsam And Jetsam tone. Another track that towers above most of the set is the deserving “Hisingen Warriors” with its European SpeedMetal meets Epic Metal appearance. The album does entertain but sounds like it needs a bit of maturing to compete. OK
Paul van der Burght
label: High Roller records
songs: The Search / Hyperion / Rise Above/ Star Voyage / Vault Seven / Bringer Of Light / Heavy Metal Impact / The Twin Suns of Solaris / Utomjordisk Dominans / Polymorphic Intruders / Hisingen Warriors //
web: https://www.facebook.com/armoryofficial
Out of Gothenburg, Sweden comes Armory; a 5-piece act that hark back to the 80's Speedmetal sound, meshing the likes of Nuclear Assault, Agent Steel and Savage Grace. This follow-up to the 2016 “Cosmic War” debut pretty much moves in a high speed from start to finish with the tempo lowered for an guitar only interlude (“Star Voyage”), the intro to “Heavy Metal Impact” and down the rhythmic fragments of the muti-structured “Vault Seven”; one of the better picks of the album that also reveals the Swedish origin in its Heavy Load-esque chants that also come re-appearing in the Savage Grace esque “Bringer Of Light”. Band takes a turn towards a more melodic approach on “Utomjordisk Dominans” that works well for the vocalage, the more so as the main obstacle throughout the disc are the Punk-ish vocals, with an absence of raw power or bite to match the music or, alternative a more melodic approach as displayed here. Songs are riff-oriented and carry a sufficient diversity flow in melodies and riffage. The guitar feedback in the riff department connects with that of Savage Grace whilst the solo actions have this Flotsam And Jetsam tone. Another track that towers above most of the set is the deserving “Hisingen Warriors” with its European SpeedMetal meets Epic Metal appearance. The album does entertain but sounds like it needs a bit of maturing to compete. OK
Paul van der Burght
OBSCENE – EP 2018 “Sermon To The Snake”
label: Horror Pain Gore Death Productions
songs: Body Of Tears/ Shadow Burial / Torture Tranquillity / Blood Moon Rats //
web: https://obscenedeathmetal.bandcamp.com/
Previously circulated as a limited 100-copy cassette release, this 4-songer has now made its way onto digital format. Indianapolis based 5-piece Obscene play old school 90's U.S DeathMetal with a blend of Doom and a distinctive twist in the vocal department, referring to the unusual, up-tone shriek-growl of Kyle Shaw that in places is sort of HardCore / GrindCore styled. Material is mostly mid-tempo driven with blast beats, or slow-fast paced. Apart from the mobility of the guitars / up-down riffage, the whole thing is quite straight-forward type with no real 'bite'. Where the band may have opted for this primitive sound / lethargic production which suits the more Doomy moments such as “Blood Moon Rats”, it equally muffles the mix of the drums, leveling the impact of the set. Nonetheless the concept still works underneath it and manages to grab attention, if alone for the vocals! Interesting.
Paul van der Burght
label: Horror Pain Gore Death Productions
songs: Body Of Tears/ Shadow Burial / Torture Tranquillity / Blood Moon Rats //
web: https://obscenedeathmetal.bandcamp.com/
Previously circulated as a limited 100-copy cassette release, this 4-songer has now made its way onto digital format. Indianapolis based 5-piece Obscene play old school 90's U.S DeathMetal with a blend of Doom and a distinctive twist in the vocal department, referring to the unusual, up-tone shriek-growl of Kyle Shaw that in places is sort of HardCore / GrindCore styled. Material is mostly mid-tempo driven with blast beats, or slow-fast paced. Apart from the mobility of the guitars / up-down riffage, the whole thing is quite straight-forward type with no real 'bite'. Where the band may have opted for this primitive sound / lethargic production which suits the more Doomy moments such as “Blood Moon Rats”, it equally muffles the mix of the drums, leveling the impact of the set. Nonetheless the concept still works underneath it and manages to grab attention, if alone for the vocals! Interesting.
Paul van der Burght
METAL MAGAZINES / WEBZINES / FANZINES
METALEGION magazine
web: www.metalegion.com https://www.facebook.com/MetalegionMag/
Metalegion is a Portugal based Metal magazine that appears both in digital and printed format. The hard-copy magazine is written in English, and printed in full colour on glossy, A4 format paper. The magazine comes with a free sampler CD covering a whole spectrum of Metal bands; from Heavy Metal to Doom, Black and DeathMetal. Magazine features interviews with better known bands, as well as Underground acts, plus an extensive review section and specials. Bands interested in having their material featured in Metalegion can do so by either contacting via info@metalegion.com or sending promotional material to the following address: Metalegion / Ricardo Azevedo, Apartado 21, 2746-901 Queluz, Portugal
web: www.metalegion.com https://www.facebook.com/MetalegionMag/
Metalegion is a Portugal based Metal magazine that appears both in digital and printed format. The hard-copy magazine is written in English, and printed in full colour on glossy, A4 format paper. The magazine comes with a free sampler CD covering a whole spectrum of Metal bands; from Heavy Metal to Doom, Black and DeathMetal. Magazine features interviews with better known bands, as well as Underground acts, plus an extensive review section and specials. Bands interested in having their material featured in Metalegion can do so by either contacting via info@metalegion.com or sending promotional material to the following address: Metalegion / Ricardo Azevedo, Apartado 21, 2746-901 Queluz, Portugal
BATTLEHELM magazine
web: https://www.facebook.com/battlehelm/ http://battlehelm.com
Originally a print magazine that originated in 1998. Battlehelm Magazine is now entirely on-line. Features, reviews, news, interviews, updates and more.
DOOMED TO DARKNESS zine
web: http://hatredmeanswar2.blogspot.co.uk
Webzine dedicated to Gothic and Doom Metal, but also features other / subgenres such as DeathMetal, Drone, Sludge etc. Website has filed reviews and interviews in folders from 2011 - present
web: http://hatredmeanswar2.blogspot.co.uk
Webzine dedicated to Gothic and Doom Metal, but also features other / subgenres such as DeathMetal, Drone, Sludge etc. Website has filed reviews and interviews in folders from 2011 - present
UNSTOPPABLE FORCE
web: www.truemetal.org/unstoppableforce/
Unstoppable Force is a True & old School heavy Metal webzine dedicated to support the local, national and international Metal scene. Features interviews, album and concert reviews, plus links to Metal websites / webzines, magazines and bands.
web: www.truemetal.org/unstoppableforce/
Unstoppable Force is a True & old School heavy Metal webzine dedicated to support the local, national and international Metal scene. Features interviews, album and concert reviews, plus links to Metal websites / webzines, magazines and bands.
METAL RECORD LABELS, MAILORDERS & DISTROS
ELECTRIC ASSAULT records
web: http://electricassaultrecords.bandcamp.com http://electricassaultrecords.com
U.S.A based Underground label and mailorder founded in 2011. Electric Assault is a vinyl oriented label that holds high the old-school / independent Metal principle. Death, Thrash, Speed, Doom, Traditional Metal etc.
web: http://electricassaultrecords.bandcamp.com http://electricassaultrecords.com
U.S.A based Underground label and mailorder founded in 2011. Electric Assault is a vinyl oriented label that holds high the old-school / independent Metal principle. Death, Thrash, Speed, Doom, Traditional Metal etc.
UNHOLY PROPHECIES records
web: www.unholyprophecies.com https://www.facebook.com/UnholyProphecies666/
Record label & mailorder with a focus on Blackened Thrash, Death / Grind and old-school DeathMetal. Catalogue features CD's, vinyl, tapes. DVD's, zines and merchandise.
web: www.unholyprophecies.com https://www.facebook.com/UnholyProphecies666/
Record label & mailorder with a focus on Blackened Thrash, Death / Grind and old-school DeathMetal. Catalogue features CD's, vinyl, tapes. DVD's, zines and merchandise.
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CAVERNA ABISMAL records
web: http://www.cavernaabismal.com/ Portugese based Underground label, shop and distributor that is geared towards Death, Black, Thrash, Doom and heavy Metal. Released formats include vinyl, CD's and tapes. Mailorder also stocks fanzines, shirts, and merchandise. |
80's METAL * 80's METAL * 80's METAL * 80's METAL * 80's METAL
Here will find a selection of 80's Metal record reviews, as well as interviews with NWOBHM acts Roadster, Apocalypse and Brands Hatch
Here will find a selection of 80's Metal record reviews, as well as interviews with NWOBHM acts Roadster, Apocalypse and Brands Hatch
SNOW WHITE – 12”EP US’85 “SNOW WHITE”
label: Desolation Unlimited (private)
songs: Prophecy / Darkness falling / New Messiah //
This one-off 3-songer by Alaska based outfit SNOW WHITE sure is one obscure thing that hardly ever pops up on mailorder catalogues. Somewhere along the line, the band’s career seemed to have come to an abrupt halt, referring to the cover that ‘stickered’ this EP to feature ‘selected cuts from the forthcoming album “New Messiah”, which actually never came to materialize. Surely, SNOW WHITE could have gone places gauging this 2-song ‘taster’ that spins off with a ‘dark’, narrative intro (“The Prophecy”) with ominous sounds and effects. “Darkness Calling” instantly demonstrates the potential of this band, addressing to all-out U.S. Metal in the likes of ODIN (“The Blade” in accelerated modus) meets DIO with a considerable Randy Rhoads feel in the guitar department. This slow and dragging Metal number is hallmarked by a neat & balanced approach that comes in a rather melodic fashion, accented by the triple sung / dubbed lead-vocals down the chant. The disc (which plays the same songs at both sides!) concludes with the mid / up-tempo driven “New Messiah” which gives away the Reli / ‘White’ Metal nature of this outfit, in a way clicking with BLOODGOOD, delivering a brand of melodic yet heavy styled Metal with a lot of guitar and a catchy drive. SNOW WHITE are not much into the structural side of things, as their material comes out rather linear, well made up for by the compact nature of the songs, musicianship, and this all round entertainment value. Strong
Paul van der Burght
label: Desolation Unlimited (private)
songs: Prophecy / Darkness falling / New Messiah //
This one-off 3-songer by Alaska based outfit SNOW WHITE sure is one obscure thing that hardly ever pops up on mailorder catalogues. Somewhere along the line, the band’s career seemed to have come to an abrupt halt, referring to the cover that ‘stickered’ this EP to feature ‘selected cuts from the forthcoming album “New Messiah”, which actually never came to materialize. Surely, SNOW WHITE could have gone places gauging this 2-song ‘taster’ that spins off with a ‘dark’, narrative intro (“The Prophecy”) with ominous sounds and effects. “Darkness Calling” instantly demonstrates the potential of this band, addressing to all-out U.S. Metal in the likes of ODIN (“The Blade” in accelerated modus) meets DIO with a considerable Randy Rhoads feel in the guitar department. This slow and dragging Metal number is hallmarked by a neat & balanced approach that comes in a rather melodic fashion, accented by the triple sung / dubbed lead-vocals down the chant. The disc (which plays the same songs at both sides!) concludes with the mid / up-tempo driven “New Messiah” which gives away the Reli / ‘White’ Metal nature of this outfit, in a way clicking with BLOODGOOD, delivering a brand of melodic yet heavy styled Metal with a lot of guitar and a catchy drive. SNOW WHITE are not much into the structural side of things, as their material comes out rather linear, well made up for by the compact nature of the songs, musicianship, and this all round entertainment value. Strong
Paul van der Burght
CHARIOT – LP UK’ 84 “THE WARRIOR”
label: Shades records
songs: Love Or Leave Me / Take Your Hands Off Me / Don’t Forget / Run With The Pack / Warriors / When The Moon Shines / Power Games / Horizons / Evil Eyes / Vigilante //
London’s Chariot were one of the many class-acts to emerge from the capital’s East-End, but one of the few to fork out a number of vinyls, the first of which came in the shape of “The Warrior” LP, released on the Shades-label, connected to the famous, London-based record shop owned by Mike Shannon. Although this LP was circulated after the height of the genuine NWOBHM thing – which took a turn towards the heavier territories towards the mid 80’s and onwards – it is played in liking with the traditional sound. The up-tempo driven “Love Or Leave Me” basically sets the standard for the concept on display here, engaging some all-out NWOBHM, stripped down to its bare basics. This, as the routine is programmed in a straight-forward fashion with an ‘easy access’ modus, repetitive riffage, catchy grooves and gripping chants. Follow-up tune, the up-tempo “Take Your Hands Off Me” moves down the same page as its predecessor, but does sport a more Metal geared riff, which, additionally to the Brian Ross – style vocalage of Pete Franklin brings up Avenger, aswell as Savage, referring to the opening tune. The set calms through some common, heavy-edged balladry in the shape of “Don’t Forget”. As the disc furthers with yet another couple of up-tempo / upbeat groovsters (including the slightly Diamond Head - riffed “Run With The Pack”) it becomes all too evident that this is the band’s forte, without having to engage structural twists or multi-beat tempos. The second half of the LP finds the band toying with conventional, Blues-rooted HardRock (“When the Moon Shines”), and modesty-mould GuitarRock of some sort (“Power Games”), missing out on the flair and impact of its main menu, as is the case with “Horizons”. The mid / up-tempo “Evil Eyes” has bits of Lizzy re-appearing (the first encounter being the twin guitar modes on “Warriors”). The LP concludes in trademark gear with “Vigilante”, once more touching upon the same thing generated by Avenger (with a dash of Satan thrown in). Chariot’s ‘no frills’ approach, and ‘one trick-themes’ work well for what they are, on record, and particularly live, as it is exactly that what earned the band a degree as a crowd-pleaser with a loyal following. Entertaining.
Paul van der Burght
label: Shades records
songs: Love Or Leave Me / Take Your Hands Off Me / Don’t Forget / Run With The Pack / Warriors / When The Moon Shines / Power Games / Horizons / Evil Eyes / Vigilante //
London’s Chariot were one of the many class-acts to emerge from the capital’s East-End, but one of the few to fork out a number of vinyls, the first of which came in the shape of “The Warrior” LP, released on the Shades-label, connected to the famous, London-based record shop owned by Mike Shannon. Although this LP was circulated after the height of the genuine NWOBHM thing – which took a turn towards the heavier territories towards the mid 80’s and onwards – it is played in liking with the traditional sound. The up-tempo driven “Love Or Leave Me” basically sets the standard for the concept on display here, engaging some all-out NWOBHM, stripped down to its bare basics. This, as the routine is programmed in a straight-forward fashion with an ‘easy access’ modus, repetitive riffage, catchy grooves and gripping chants. Follow-up tune, the up-tempo “Take Your Hands Off Me” moves down the same page as its predecessor, but does sport a more Metal geared riff, which, additionally to the Brian Ross – style vocalage of Pete Franklin brings up Avenger, aswell as Savage, referring to the opening tune. The set calms through some common, heavy-edged balladry in the shape of “Don’t Forget”. As the disc furthers with yet another couple of up-tempo / upbeat groovsters (including the slightly Diamond Head - riffed “Run With The Pack”) it becomes all too evident that this is the band’s forte, without having to engage structural twists or multi-beat tempos. The second half of the LP finds the band toying with conventional, Blues-rooted HardRock (“When the Moon Shines”), and modesty-mould GuitarRock of some sort (“Power Games”), missing out on the flair and impact of its main menu, as is the case with “Horizons”. The mid / up-tempo “Evil Eyes” has bits of Lizzy re-appearing (the first encounter being the twin guitar modes on “Warriors”). The LP concludes in trademark gear with “Vigilante”, once more touching upon the same thing generated by Avenger (with a dash of Satan thrown in). Chariot’s ‘no frills’ approach, and ‘one trick-themes’ work well for what they are, on record, and particularly live, as it is exactly that what earned the band a degree as a crowd-pleaser with a loyal following. Entertaining.
Paul van der Burght
JJ’S POWERHOUSE – 7” UK’83 “RUNNING FOR THE LINE”
label: Sillysybin records
songs: Running For The Line / Blackrods //
The JJ’s Powerhouse single - pressed in minimal quantities - has become a major NWOBHM collector’s favourite over the past few years. Recorded at the boom of the genre, this top-shelf single simply dissolved in the abundance of releases produced at the time, which is a loss, regarding the potential of both songs (which actually date back to where guitarist John J. Cox was operational in an outfit called QUAD). When these ‘new versions’ were taped, the lyrics and vocals were added by former band-mate, singer ‘Oz” Davies), who - at a later stage - would team up with John again to lay down the vocals on the J.J.’s Powerhouse “In More Rock “ CD, featuring a re-mixed, re-recorded version of flipside tune “Blackrods”. The single spins off with a gripping ‘hall of fame’ lead guitar by John J. Cox, fueling this high-octane semi-speedster that levels with the early Jaguar material, “Running For The Line” has NWOBHM written all over, from the guitars and the vocals onto its drive and feel, and brings up the heaviest, fastest Deep Purple outlets-gone-Metal, minus the Hammond. B-side cut, the up-tempo “Blackrods” shows a more HardRock-type approach with a grainy, staccato Metal guitar, and some fine solo action with a touch upon the Blackmore (“Rainbow Rising”-era) thing, halfway down. In all, a great slab of NWOBHM action, well worth adding to your collection, even though it doesn’t come cheap. This one-off vinyl outlet was pressed in a limited edition of 1000 copies, some 200 copies of which where thrown into the crowd during a show of the band's later incarnation called WHITE HEAT (with also just one single out) at Holland’s “Paradiso” venue!! You may wonder if any of those ‘luckies’ know what treasures they held, as its value has meanwhile snowballed down the three-figure territories. Highly recommended!
specs: limited edition of 1000 copies / never in picture sleeve //
Paul van der Burght
label: Sillysybin records
songs: Running For The Line / Blackrods //
The JJ’s Powerhouse single - pressed in minimal quantities - has become a major NWOBHM collector’s favourite over the past few years. Recorded at the boom of the genre, this top-shelf single simply dissolved in the abundance of releases produced at the time, which is a loss, regarding the potential of both songs (which actually date back to where guitarist John J. Cox was operational in an outfit called QUAD). When these ‘new versions’ were taped, the lyrics and vocals were added by former band-mate, singer ‘Oz” Davies), who - at a later stage - would team up with John again to lay down the vocals on the J.J.’s Powerhouse “In More Rock “ CD, featuring a re-mixed, re-recorded version of flipside tune “Blackrods”. The single spins off with a gripping ‘hall of fame’ lead guitar by John J. Cox, fueling this high-octane semi-speedster that levels with the early Jaguar material, “Running For The Line” has NWOBHM written all over, from the guitars and the vocals onto its drive and feel, and brings up the heaviest, fastest Deep Purple outlets-gone-Metal, minus the Hammond. B-side cut, the up-tempo “Blackrods” shows a more HardRock-type approach with a grainy, staccato Metal guitar, and some fine solo action with a touch upon the Blackmore (“Rainbow Rising”-era) thing, halfway down. In all, a great slab of NWOBHM action, well worth adding to your collection, even though it doesn’t come cheap. This one-off vinyl outlet was pressed in a limited edition of 1000 copies, some 200 copies of which where thrown into the crowd during a show of the band's later incarnation called WHITE HEAT (with also just one single out) at Holland’s “Paradiso” venue!! You may wonder if any of those ‘luckies’ know what treasures they held, as its value has meanwhile snowballed down the three-figure territories. Highly recommended!
specs: limited edition of 1000 copies / never in picture sleeve //
Paul van der Burght
PROWLER – 7” UK’83 “FORGOTTEN ANGEL”
label: Pirate (private)
songs: Forgotten Angel / “Don’t Let Go”
Best known 7-incher out of a 2-single career, coupling “Forgotten Angel” and “Dont Let Go”. The titletrack starts off in a slow, grinding fashion with an all Metal type fist-pumping vibe and groove. It is the rather heavy guitars that direct the band towards Metal territories, as the grooves and chords are truly HardRock. As the song furthers, The Metal sound is pushed forward, and goes in full as its tempo is accelerated, bridged by a lot of tasty guitar action by both guitarists, to be continued in a Maiden-esque fashion with melodies that strongly address to Maiden’s “Hallowed Be Thy Name”. Vocals are rather level-type, and definitely could have upgraded the whole thing with some rough edges. Quite a basic offering but saved by its groove and guitars. “Don’t Let Go” reveals a completely different approach, sporting a shuffle-esque drive, Boogie flavoured guitar and grooves in the Biker Rock vein. It is here that the vocals deliver this rough edge to the music, the way it should have been applied on the aforementioned. The chant, over against that, is a little contrasting with its melodic undertone (double sung) but somehow gives the song a nice swing. Again, the song is all guitars in its mid-section. Overall, nothing out of the ordinary concept-wise, but quite sticky and highly accessible. For some odd reason, - most likely due to the inclusion of its titletrack to Japanese NWOBHM bootleg compilation series - this single is their most favoured one, even though the ’85 follow-up “Alcatraz” b/w “So Lonely”, makes a far better choice financial and musical-wise.
Paul van der Burght
label: Pirate (private)
songs: Forgotten Angel / “Don’t Let Go”
Best known 7-incher out of a 2-single career, coupling “Forgotten Angel” and “Dont Let Go”. The titletrack starts off in a slow, grinding fashion with an all Metal type fist-pumping vibe and groove. It is the rather heavy guitars that direct the band towards Metal territories, as the grooves and chords are truly HardRock. As the song furthers, The Metal sound is pushed forward, and goes in full as its tempo is accelerated, bridged by a lot of tasty guitar action by both guitarists, to be continued in a Maiden-esque fashion with melodies that strongly address to Maiden’s “Hallowed Be Thy Name”. Vocals are rather level-type, and definitely could have upgraded the whole thing with some rough edges. Quite a basic offering but saved by its groove and guitars. “Don’t Let Go” reveals a completely different approach, sporting a shuffle-esque drive, Boogie flavoured guitar and grooves in the Biker Rock vein. It is here that the vocals deliver this rough edge to the music, the way it should have been applied on the aforementioned. The chant, over against that, is a little contrasting with its melodic undertone (double sung) but somehow gives the song a nice swing. Again, the song is all guitars in its mid-section. Overall, nothing out of the ordinary concept-wise, but quite sticky and highly accessible. For some odd reason, - most likely due to the inclusion of its titletrack to Japanese NWOBHM bootleg compilation series - this single is their most favoured one, even though the ’85 follow-up “Alcatraz” b/w “So Lonely”, makes a far better choice financial and musical-wise.
Paul van der Burght
ROADSTER – 7” UK'81 “Fantasy”
label: Mayhem records
songs: Fantasy / 45Mph
This '81, double A-side single is the one and only vinylized material by this Yorkshire based three piece that got stimulated musically by Vardis' Alan Selway that even sang @ rehearsals in the very early stage of the band. The single couples the Status Quo / Spider / Vardis styled, up-tempo Boogie Rockers “Fantasy” and the faster, upbeat driven “45 Mph”. Both tunes follow the same approach, rolling on easy, toe-tapping beats and Biker Blues Rock 'n Roll features, including this 'live take' appearance, and motorcycle related lyrics. Uncompromising, straight forward thing that has positioned itself into the higher ranks of NWOBHM collectibles in value with only 500 copies being pressed and only sold at live gigs. Aside from the single, the band had a wider repertoire of songs, including “Glory Fighter”, “Blind Date”, “Streets Of Fear”, “Fairytales / Devil Rides Out” “Albert The Hermit” and the Alan Selway (Vardis) written “Living Like A Mad Man”
Paul van der Burght
Interview Manic Mosh Metal and Malcolm Shipman - Roadster
Manic MoshMetal: How many years did the career of Roadster span, and why and when did the band fold
Malcolm: Approximately five years I guess... It started with me, Gary Standing and Martyn Howes; both of them great musicians. I was the weak link lol... I started out wanting to learn keys but Alen Selway (from Vardis; an excellent bass player said 'if you wanna be in a band, you have to start with something a bit easier' lol, and convinced me to sell all my keyboards and buy a Kramer bass and a Trace Elliot bass rig... I started to learn it, and in two weeks I was doing well and the band started to sound good... But, Alan was singing for us (just at rehearsals, lol). Then, he dropped the bombshell, saying that he had arranged for us to open for VARDIS in three weeks time! We laughed at him (but he was deadly serious) and I said; 'who is going to sing?' He said, 'Well, you wrote nearly all the songs, so, You! I tried to sing and play the bass and could not do it! I kept singing the bass line lol . Anyway, he showed me the open closed string approach and I managed! I had three weeks to learn all the songs and play at the same time as Al organised a gig in Leeds for us to do .. I ended up jamming with Gaz and Martyn, knowing only the songs I learnt! It was an amazing gig at the Unity Hall in Wakefield; we were on first but didn’t get a sound check! We were in a changing room down the back of the stage . We were supposed to go on as they opened the doors. What we didn’t know (and nobody told us ) was the police had made the organisers open the doors early as the crowd was so big it was overflowing onto the road, lol. Anyway, when it was time to go on, we walked onto the stage to see a packed house .. I froze and could not remember the words to our own songs. Martyn told me the first line and we started. Then, I could not remember the next verse, so he said, 'last verse same as the first'. I did that and then ploughed straight into the next song . We had no idea what the audience would think . But as soon as the song ended the place erupted and all my nerves just went and we had a great gig!
MMM: Were the single tracks, “Roadster” and “45Mph” lifted from a demo recording with other tracks such as “Living Like A Mad Man” and “Blind Date” that were also recorded in the Woodland Studios in '81, the same time the single was released, and was this a 'live studio take?
Malcolm: We recorded all our early stuff at Woodlands Recording Studio and it was all done properly. The tracks were not recorded live, and they were mixed down while we were there. I still have the 16 track reel.
MMM: How many copies of the “Roadster” single were pressed, and did all of these come with a picture sleeve?
Malcolm: The double A sided single with “45MPH” and “Fantasy” was made as a release for the VARDIS gig. I had 500 made and we sold them for just £1 each and we made £50. I have 1 copy left, lol.
MMM: So, were the singles only sold during gigs or also through other channels?
Malcolm: Yes, we only sold them at gigs
MMM: Could you ever have guessed that a DIY micro press single as yours would become a valued, sought after item in NWOBHM territories.
Malcolm: The last I heard, people were paying £45 on eBay ,nothing to do with me, lol. I have no idea that it's sought after, lol. We did a lot better stuff as we progressed an got more members and fantastic guitarists .
MMM: Was there any other material, such as a demo tape officially released?
Malcolm: We got stuck into doing material for an album. We did just that and then, as always happens the bass player and drummer left at the same time; jobs an woman demands was the end of my dreams. I was a shit singer and was willing to just play bass and get a singer but I was out voted. Other Roadster tunes were “Little Lady”, “Albert The Hermit”, “Blind Date”, “Little Children”, “Living Like A Madman”, “Glory Fighter”, “Lies”, “Fairytales” / “Devil Rides Out” and “Streets Of Fear”
MMM: What is the connection with Alan Selway (Vardis) as not only did he write “Living Like A Mad Man” but also plays harmonica on “Albert The Hermit”
Malcolm: Alan Selway was the inspiration for me to start the band. He was a good friend and became my son's god father as did Martyn . And yes, he write most of “Living Like A Madman”, and did the harmonica on “Albert The Hermit” which Martyn penned .. I just changed a few things to make it work for me singing it. Martyn also penned “Little Lady”. I personally had nothing to do with the instrumental part of the music making we had. I personally liked the latest tracks we did; “Streets Of Fear” and “Still Looking For You” (“Devil Rides You Out”); We could never decide on the name for that one,lol. The album would have been old to new (trough the years) Starting with the songs that we did as we did them, .apart from Martyn Howes, and the only drummer we had, Gary Standing. We had a few great musicians, notably Nidge Dobson (lead guitar), Chris Bridges (guitar), John Charles (bass and guitar). There were more but my memory is not good enough to remember their names which is weird cos I can see their faces... It may come to me when I'm not thinking about it... I know one of the bass players was called David, lol.
MMM: Anything else you'd like to add...
Malcolm: I always wanted to do the album and release it, but never had the time or money to do it right. I may still do one day .. If I can find the CD's as the reels are no good now, lol.
label: Mayhem records
songs: Fantasy / 45Mph
This '81, double A-side single is the one and only vinylized material by this Yorkshire based three piece that got stimulated musically by Vardis' Alan Selway that even sang @ rehearsals in the very early stage of the band. The single couples the Status Quo / Spider / Vardis styled, up-tempo Boogie Rockers “Fantasy” and the faster, upbeat driven “45 Mph”. Both tunes follow the same approach, rolling on easy, toe-tapping beats and Biker Blues Rock 'n Roll features, including this 'live take' appearance, and motorcycle related lyrics. Uncompromising, straight forward thing that has positioned itself into the higher ranks of NWOBHM collectibles in value with only 500 copies being pressed and only sold at live gigs. Aside from the single, the band had a wider repertoire of songs, including “Glory Fighter”, “Blind Date”, “Streets Of Fear”, “Fairytales / Devil Rides Out” “Albert The Hermit” and the Alan Selway (Vardis) written “Living Like A Mad Man”
Paul van der Burght
Interview Manic Mosh Metal and Malcolm Shipman - Roadster
Manic MoshMetal: How many years did the career of Roadster span, and why and when did the band fold
Malcolm: Approximately five years I guess... It started with me, Gary Standing and Martyn Howes; both of them great musicians. I was the weak link lol... I started out wanting to learn keys but Alen Selway (from Vardis; an excellent bass player said 'if you wanna be in a band, you have to start with something a bit easier' lol, and convinced me to sell all my keyboards and buy a Kramer bass and a Trace Elliot bass rig... I started to learn it, and in two weeks I was doing well and the band started to sound good... But, Alan was singing for us (just at rehearsals, lol). Then, he dropped the bombshell, saying that he had arranged for us to open for VARDIS in three weeks time! We laughed at him (but he was deadly serious) and I said; 'who is going to sing?' He said, 'Well, you wrote nearly all the songs, so, You! I tried to sing and play the bass and could not do it! I kept singing the bass line lol . Anyway, he showed me the open closed string approach and I managed! I had three weeks to learn all the songs and play at the same time as Al organised a gig in Leeds for us to do .. I ended up jamming with Gaz and Martyn, knowing only the songs I learnt! It was an amazing gig at the Unity Hall in Wakefield; we were on first but didn’t get a sound check! We were in a changing room down the back of the stage . We were supposed to go on as they opened the doors. What we didn’t know (and nobody told us ) was the police had made the organisers open the doors early as the crowd was so big it was overflowing onto the road, lol. Anyway, when it was time to go on, we walked onto the stage to see a packed house .. I froze and could not remember the words to our own songs. Martyn told me the first line and we started. Then, I could not remember the next verse, so he said, 'last verse same as the first'. I did that and then ploughed straight into the next song . We had no idea what the audience would think . But as soon as the song ended the place erupted and all my nerves just went and we had a great gig!
MMM: Were the single tracks, “Roadster” and “45Mph” lifted from a demo recording with other tracks such as “Living Like A Mad Man” and “Blind Date” that were also recorded in the Woodland Studios in '81, the same time the single was released, and was this a 'live studio take?
Malcolm: We recorded all our early stuff at Woodlands Recording Studio and it was all done properly. The tracks were not recorded live, and they were mixed down while we were there. I still have the 16 track reel.
MMM: How many copies of the “Roadster” single were pressed, and did all of these come with a picture sleeve?
Malcolm: The double A sided single with “45MPH” and “Fantasy” was made as a release for the VARDIS gig. I had 500 made and we sold them for just £1 each and we made £50. I have 1 copy left, lol.
MMM: So, were the singles only sold during gigs or also through other channels?
Malcolm: Yes, we only sold them at gigs
MMM: Could you ever have guessed that a DIY micro press single as yours would become a valued, sought after item in NWOBHM territories.
Malcolm: The last I heard, people were paying £45 on eBay ,nothing to do with me, lol. I have no idea that it's sought after, lol. We did a lot better stuff as we progressed an got more members and fantastic guitarists .
MMM: Was there any other material, such as a demo tape officially released?
Malcolm: We got stuck into doing material for an album. We did just that and then, as always happens the bass player and drummer left at the same time; jobs an woman demands was the end of my dreams. I was a shit singer and was willing to just play bass and get a singer but I was out voted. Other Roadster tunes were “Little Lady”, “Albert The Hermit”, “Blind Date”, “Little Children”, “Living Like A Madman”, “Glory Fighter”, “Lies”, “Fairytales” / “Devil Rides Out” and “Streets Of Fear”
MMM: What is the connection with Alan Selway (Vardis) as not only did he write “Living Like A Mad Man” but also plays harmonica on “Albert The Hermit”
Malcolm: Alan Selway was the inspiration for me to start the band. He was a good friend and became my son's god father as did Martyn . And yes, he write most of “Living Like A Madman”, and did the harmonica on “Albert The Hermit” which Martyn penned .. I just changed a few things to make it work for me singing it. Martyn also penned “Little Lady”. I personally had nothing to do with the instrumental part of the music making we had. I personally liked the latest tracks we did; “Streets Of Fear” and “Still Looking For You” (“Devil Rides You Out”); We could never decide on the name for that one,lol. The album would have been old to new (trough the years) Starting with the songs that we did as we did them, .apart from Martyn Howes, and the only drummer we had, Gary Standing. We had a few great musicians, notably Nidge Dobson (lead guitar), Chris Bridges (guitar), John Charles (bass and guitar). There were more but my memory is not good enough to remember their names which is weird cos I can see their faces... It may come to me when I'm not thinking about it... I know one of the bass players was called David, lol.
MMM: Anything else you'd like to add...
Malcolm: I always wanted to do the album and release it, but never had the time or money to do it right. I may still do one day .. If I can find the CD's as the reels are no good now, lol.
WITCHCROSS - LP DK'84 "FIT FOR FIGHT"
label: Roadrunner
songs: Nightflight To Tokyo / Face Of A Clown / Rocking The Night Away / Killer Dogs / Fight The Fire / Axe Dance / Light of A Torch / Alien Savage //
WITCHCROSS seemed to have a bright future ahead of them but somehow got lost along the way once this full-lengther was circulated. Small scale promotion and distribution might have been THE reason, as the quality factor of the disc has been confirmed by both press and fans time and time again. "Fit For Fight" is a classic, has Metal written all over and is played much in the likes of the 2nd generation NWOBHM bands with a strong blend of traditional Euro-Metal a la SCORPIONS and SCHENKER. Latter happens to be one of the inspirational sources of this Danish 5-piece, as are SAXON, MAIDEN, ZEPPELIN and (less obvious) PURPLE. The album holds a fairly new set of songs with only but two cuts ("Fight The Fire", "Light Of A Torch") from the '83 6-song demo. Regular themes are upgraded by twofold riffage (chords / rhythm leads), accelerations, nifty twists and a whole lot of tasty guitar actions. Singer Alex 'Savage" Nyborg has a clear, distinctive voice, somewhere in between the mid & up-range, adding a certain, melodic edge to the music as a whole. The Euro-sound is most evident on the mid-paced "Rocking The Night Away", played much in the likes of THE SCORPIONS' "Rock You Like A Hurricane" plus the SCHENKER-ish instrumental-banger "Axe Dance", whilst the NWOBHM thing comes clearly surfacing on the up-tempos "Nightflight To Tokyo" & "Light Of A Torch" plus the fast, double-bass driven "Alien Savage". Entertaining.
Paul van der Burght
label: Roadrunner
songs: Nightflight To Tokyo / Face Of A Clown / Rocking The Night Away / Killer Dogs / Fight The Fire / Axe Dance / Light of A Torch / Alien Savage //
WITCHCROSS seemed to have a bright future ahead of them but somehow got lost along the way once this full-lengther was circulated. Small scale promotion and distribution might have been THE reason, as the quality factor of the disc has been confirmed by both press and fans time and time again. "Fit For Fight" is a classic, has Metal written all over and is played much in the likes of the 2nd generation NWOBHM bands with a strong blend of traditional Euro-Metal a la SCORPIONS and SCHENKER. Latter happens to be one of the inspirational sources of this Danish 5-piece, as are SAXON, MAIDEN, ZEPPELIN and (less obvious) PURPLE. The album holds a fairly new set of songs with only but two cuts ("Fight The Fire", "Light Of A Torch") from the '83 6-song demo. Regular themes are upgraded by twofold riffage (chords / rhythm leads), accelerations, nifty twists and a whole lot of tasty guitar actions. Singer Alex 'Savage" Nyborg has a clear, distinctive voice, somewhere in between the mid & up-range, adding a certain, melodic edge to the music as a whole. The Euro-sound is most evident on the mid-paced "Rocking The Night Away", played much in the likes of THE SCORPIONS' "Rock You Like A Hurricane" plus the SCHENKER-ish instrumental-banger "Axe Dance", whilst the NWOBHM thing comes clearly surfacing on the up-tempos "Nightflight To Tokyo" & "Light Of A Torch" plus the fast, double-bass driven "Alien Savage". Entertaining.
Paul van der Burght
DICK SMITH BAND – 7” UK’80 “THE WAY OF THE WORLD”
label: Hol-o-gram
songs: The Way Of The World / Giving The Game Away //
Prior to this single, another 2-songer, called “Motorway Madness”, was circulated. There is a world of difference between both outlets, but common factor is that neither one truly classifies as NWOBHM, although this particular one definitely could with few modifications. The “Motorway Madness” single finds the band toying with the 70’s Rock thing and sounds much like DEEP PURPLE meets THE DOORS on a psychedelic trip, with a blend of STEPPENWOLF thrown in on the b-side cut. The most deserving and prominent factor throughout; the band’s niche for out-of-the-ordinary songwriting, has remained intact, but that’s where similarities end, as the whole thing has been given a Bluesy swing on both ‘The Way Of The World”, and “Giving The Game Away”; the heaviest of all. This one’s got a riff and all round roughness that is genuine NWOBHM, but it is the layers of the second guitar and the moderate distortion that do not entirely comply with the genre. Still, a tune that rocks from start to finish, adopting a groovy up-tempo drive, plenty of guitars and rough style, veteran vocals. As a surplus, there’s a lot of musical creativity crammed into a bare 3 minutes of running time. If comparisons would apply, the one that springs to mind would be an early SAMMY HAGAR. The structural sense is further up on titletrack “The Way Of The World”; a catchy, mid-paced (Hard)Rock number with a Bluesy lead & feel, and a strongly contrasting chant with multi-vocals, fusion-esque guitars and handclap!; other than it mellows down the music, it simply fits and further accents the originality of the package as whole. DICK SMITH BAND are an act that does not stick to the program for whatever genre one may stick to this band. Interesting.
Paul van der Burght
label: Hol-o-gram
songs: The Way Of The World / Giving The Game Away //
Prior to this single, another 2-songer, called “Motorway Madness”, was circulated. There is a world of difference between both outlets, but common factor is that neither one truly classifies as NWOBHM, although this particular one definitely could with few modifications. The “Motorway Madness” single finds the band toying with the 70’s Rock thing and sounds much like DEEP PURPLE meets THE DOORS on a psychedelic trip, with a blend of STEPPENWOLF thrown in on the b-side cut. The most deserving and prominent factor throughout; the band’s niche for out-of-the-ordinary songwriting, has remained intact, but that’s where similarities end, as the whole thing has been given a Bluesy swing on both ‘The Way Of The World”, and “Giving The Game Away”; the heaviest of all. This one’s got a riff and all round roughness that is genuine NWOBHM, but it is the layers of the second guitar and the moderate distortion that do not entirely comply with the genre. Still, a tune that rocks from start to finish, adopting a groovy up-tempo drive, plenty of guitars and rough style, veteran vocals. As a surplus, there’s a lot of musical creativity crammed into a bare 3 minutes of running time. If comparisons would apply, the one that springs to mind would be an early SAMMY HAGAR. The structural sense is further up on titletrack “The Way Of The World”; a catchy, mid-paced (Hard)Rock number with a Bluesy lead & feel, and a strongly contrasting chant with multi-vocals, fusion-esque guitars and handclap!; other than it mellows down the music, it simply fits and further accents the originality of the package as whole. DICK SMITH BAND are an act that does not stick to the program for whatever genre one may stick to this band. Interesting.
Paul van der Burght
XCURSION - 12"EP US'83 "XCURSION"
label: Rampage records
songs: Mouthful Of Steel / Love Is Blind / Can't Take It / Skull Queen //
This U.S band has been an upstart for the career of Mark Slaughter who would later gain fame with overground act Slaughter, not to be mistaken with the Canadian namesakes. The E.P (which is also known as the “Skull Queen” E.P) opens in an all-out US (Power) Metal fashion with the “Mouthful Of Steel”; a mid-paced, double-bass drummed Metal pounder that moves somewhere in between Anvil and Victim. Next up; the catchy, upbeat driven “Love Is Blind” is less Metal but still quite heavy with a contrasting, commercial type refrain, and has shades of Priest's “Diamonds And Rust” in both the vocal and riff-department before the mellow chants take over the chorus. The B-side opens in Glam Rock fashion with the Ratt flavoured "Can't Take It"; a mid-paced track with a refrain, redolent of the early Kiss material. The disc concludes with the moderately paced HardRocker "Skull Queen", that has the Priest thing re-appearing in the vocals and riffage with those contrasting, all American chants in the chorus. By the name of Xcursion, this Nevada based three-piece popped out another disc, "Ready To Roll" (Rampage '84) that would further explore the commercial sound of the band. Nice
Paul van der Burght
label: Rampage records
songs: Mouthful Of Steel / Love Is Blind / Can't Take It / Skull Queen //
This U.S band has been an upstart for the career of Mark Slaughter who would later gain fame with overground act Slaughter, not to be mistaken with the Canadian namesakes. The E.P (which is also known as the “Skull Queen” E.P) opens in an all-out US (Power) Metal fashion with the “Mouthful Of Steel”; a mid-paced, double-bass drummed Metal pounder that moves somewhere in between Anvil and Victim. Next up; the catchy, upbeat driven “Love Is Blind” is less Metal but still quite heavy with a contrasting, commercial type refrain, and has shades of Priest's “Diamonds And Rust” in both the vocal and riff-department before the mellow chants take over the chorus. The B-side opens in Glam Rock fashion with the Ratt flavoured "Can't Take It"; a mid-paced track with a refrain, redolent of the early Kiss material. The disc concludes with the moderately paced HardRocker "Skull Queen", that has the Priest thing re-appearing in the vocals and riffage with those contrasting, all American chants in the chorus. By the name of Xcursion, this Nevada based three-piece popped out another disc, "Ready To Roll" (Rampage '84) that would further explore the commercial sound of the band. Nice
Paul van der Burght
SATAN JOKERS - LP FRA'83 "Les Fils Du Metal"
label: Vertigo
songs: Prelude / Les Fils Du Metal / Samouraï / Offrande / Derriere Les Portes Closes / En Partance Pour L'Enfer / Age De Confusion / Les Forces Malefiques / Le Fouet / Quand Les Heros Se Meurent //
Debut LP by one of France's earlier Metal bands that paved the way for the New Wave Of French Heavy Metal. The set on the native tongue voiced “Les Fils Du Metal”is pretty much patterned upon Heavy Metal in the vein of JUDAS PRIEST. Even regarding the fact that SATAN JOKERS only have but one guitarist, the material sounds broad and heavy topping the scales with "Samouraï" and "Age De Confusion", being on the verge of PowerMetal. Songs are either moderately or mid-paced but differentiation comes in the shape of an instrumental "Les Forces Malefiques" and a good structural diversity flow. "Les Fils Du Metal" is a complete, power-packed Metal affair worth investigating. Strong.
Paul van der Burght
label: Vertigo
songs: Prelude / Les Fils Du Metal / Samouraï / Offrande / Derriere Les Portes Closes / En Partance Pour L'Enfer / Age De Confusion / Les Forces Malefiques / Le Fouet / Quand Les Heros Se Meurent //
Debut LP by one of France's earlier Metal bands that paved the way for the New Wave Of French Heavy Metal. The set on the native tongue voiced “Les Fils Du Metal”is pretty much patterned upon Heavy Metal in the vein of JUDAS PRIEST. Even regarding the fact that SATAN JOKERS only have but one guitarist, the material sounds broad and heavy topping the scales with "Samouraï" and "Age De Confusion", being on the verge of PowerMetal. Songs are either moderately or mid-paced but differentiation comes in the shape of an instrumental "Les Forces Malefiques" and a good structural diversity flow. "Les Fils Du Metal" is a complete, power-packed Metal affair worth investigating. Strong.
Paul van der Burght
CHINA DOLL – 7” UK ‘80 “OYSTERS AND WINE”
label: Wessex
songs: Oysters And Wine / Past Tense //
If ever you will come across a copy of this one-off vinyl affair by U.K. outfit CHINA DOLL, be prepared to fork out a large sum of money to own it. The year of release has the NWOBHM ‘danger zone’ in effect, as a great deal of bands emerging with vinyls at that time were still pretty much rooted in the 70’s thing, and are anything but true NWOBHM or Metal geared. This applies to the mild, and rather Rock oriented up-tempo ‘HardRocker’ “Oysters And Wine” that has a conventional root and feel, hoovering somewhere in between old-style KISS (“Love Gun”) and U.F.O. (“Doctor, Doctor”) with a blend of Boogie (down its chords), and a splash of BLEAKHOUSE in its opening - and concluding guitar modes in both riff-style and sound. Overall, song has a good, all-round groove-factor and versatility going, most of which is found in the guitar department. Vocals are regular toned but match the music well - and somehow have this foreign, almost Scandinavian like twist to them, as evidenced on flipside tune “Past Tense” - This one spans well over 7 minutes, some 5 minutes of which is taken up by instrumental modes, including some stretched, semi-acoustics down its opening theme. The conventional sound is further taken back in time, engaging Rock-opera style programming with an all 70’s appearance, Rock- guitars, and (one-off) Pop-synths effects, although allround riffage fits well into the NWOBHM thing. Although CHINA DOLL come along pretty well here, they are not entirely on top of it performance - wise, but they sure had the structural skills and ideas which are the prime movers here. Okay…
Paul van der Burght
label: Wessex
songs: Oysters And Wine / Past Tense //
If ever you will come across a copy of this one-off vinyl affair by U.K. outfit CHINA DOLL, be prepared to fork out a large sum of money to own it. The year of release has the NWOBHM ‘danger zone’ in effect, as a great deal of bands emerging with vinyls at that time were still pretty much rooted in the 70’s thing, and are anything but true NWOBHM or Metal geared. This applies to the mild, and rather Rock oriented up-tempo ‘HardRocker’ “Oysters And Wine” that has a conventional root and feel, hoovering somewhere in between old-style KISS (“Love Gun”) and U.F.O. (“Doctor, Doctor”) with a blend of Boogie (down its chords), and a splash of BLEAKHOUSE in its opening - and concluding guitar modes in both riff-style and sound. Overall, song has a good, all-round groove-factor and versatility going, most of which is found in the guitar department. Vocals are regular toned but match the music well - and somehow have this foreign, almost Scandinavian like twist to them, as evidenced on flipside tune “Past Tense” - This one spans well over 7 minutes, some 5 minutes of which is taken up by instrumental modes, including some stretched, semi-acoustics down its opening theme. The conventional sound is further taken back in time, engaging Rock-opera style programming with an all 70’s appearance, Rock- guitars, and (one-off) Pop-synths effects, although allround riffage fits well into the NWOBHM thing. Although CHINA DOLL come along pretty well here, they are not entirely on top of it performance - wise, but they sure had the structural skills and ideas which are the prime movers here. Okay…
Paul van der Burght
DEUCE – 7” UK’86 “RADAR LOVE”
label: Madhouse
songs: Radar Love / Christine //
Although this band - not to be mistaken for the U.S. based DEUCE (pre-TENSION) or their U.K. namesakes - moves under the banner of NWOBHM, this single should definitely not be considered as such, besides, this item only but got released when the NWOBHM was already on its return…. As its title suggests, the A-side concerns a remake of the original GOLDEN EARRING hit-single, that has been caked with some meaty guitars to beef it up to where it meets HardRock, be it in a controlled, modest manner anyways. In some degree, this is due to the vocalage of Steve Barns operating in a neutral fashion without the rough edges. Although the song itself does not make it the best pick of the bunch cover-wise, this interpretation comes along pretty well, with some nice guitar hooks, and slightly accelerated modes halfway down. Flipside tune, the up-tempo “Christine” shows a completely different approach that pretty much clicks with the more smoothened up ENERGY material. It is here that the band flirts with the American (radio) Rock sound, sporting a cheerful vibe and Poppy chant. It is the second half of this song, actually its bridge and solo-section, that their true origin (U.K) clearly comes shining through. Overall, the “Radar Love” single is a lightweight HardRock affair, but it does have a certain charm to it, as well as it does cruise all right in both the musical and structural department. This DEUCE single will make a welcome addition to those that cling to the mild-format, American geared 2nd generation U.K. HardRock bands…
Paul van der Burght
label: Madhouse
songs: Radar Love / Christine //
Although this band - not to be mistaken for the U.S. based DEUCE (pre-TENSION) or their U.K. namesakes - moves under the banner of NWOBHM, this single should definitely not be considered as such, besides, this item only but got released when the NWOBHM was already on its return…. As its title suggests, the A-side concerns a remake of the original GOLDEN EARRING hit-single, that has been caked with some meaty guitars to beef it up to where it meets HardRock, be it in a controlled, modest manner anyways. In some degree, this is due to the vocalage of Steve Barns operating in a neutral fashion without the rough edges. Although the song itself does not make it the best pick of the bunch cover-wise, this interpretation comes along pretty well, with some nice guitar hooks, and slightly accelerated modes halfway down. Flipside tune, the up-tempo “Christine” shows a completely different approach that pretty much clicks with the more smoothened up ENERGY material. It is here that the band flirts with the American (radio) Rock sound, sporting a cheerful vibe and Poppy chant. It is the second half of this song, actually its bridge and solo-section, that their true origin (U.K) clearly comes shining through. Overall, the “Radar Love” single is a lightweight HardRock affair, but it does have a certain charm to it, as well as it does cruise all right in both the musical and structural department. This DEUCE single will make a welcome addition to those that cling to the mild-format, American geared 2nd generation U.K. HardRock bands…
Paul van der Burght
WITCH - MLP US'83 "The Hex Is On”
label: O.T.T. records
songs: Damnation / Bewitched / Cinderella (In Black Leather) / Nervous Wreck / Wet & Wild //
The band name and album title may anticipate a different concept than what this California based 4-piece are really at. A glance at its cover, and tracklisting makes it evident. Running down this 5-songer is like spinning a Twisted Sister album, complete with (half as convincing but seemingly) Dee Snider inspired vocals (by singer Peter Wabitt) and gripping riffs a la J.J. French (courtesy of Ronny Too), however without the impact and high-grade appearance of the aforementioned. Furthermore, Witch goes down a mirror-like Twisted Sister "Under The Blade" set, featuring driven Headbangers ("Bewitched", "Nervous Wreck"), mid-paced HardRock, GlamRock ("Wet & Wild") and riff-based Metal on the verge of PowerMetal ("Cinderella"). Even regarding the fact that "The Hex Is On" lacks originality, Witch comes along pretty well with this release, but would have done even better with more productional punch and less prominent vocals. Okay.
Paul van der Burght
label: O.T.T. records
songs: Damnation / Bewitched / Cinderella (In Black Leather) / Nervous Wreck / Wet & Wild //
The band name and album title may anticipate a different concept than what this California based 4-piece are really at. A glance at its cover, and tracklisting makes it evident. Running down this 5-songer is like spinning a Twisted Sister album, complete with (half as convincing but seemingly) Dee Snider inspired vocals (by singer Peter Wabitt) and gripping riffs a la J.J. French (courtesy of Ronny Too), however without the impact and high-grade appearance of the aforementioned. Furthermore, Witch goes down a mirror-like Twisted Sister "Under The Blade" set, featuring driven Headbangers ("Bewitched", "Nervous Wreck"), mid-paced HardRock, GlamRock ("Wet & Wild") and riff-based Metal on the verge of PowerMetal ("Cinderella"). Even regarding the fact that "The Hex Is On" lacks originality, Witch comes along pretty well with this release, but would have done even better with more productional punch and less prominent vocals. Okay.
Paul van der Burght
BRANDS HATCH - NWOBHM
Brands Hatch is a typical example of a young and talented NWOBHM act that was out there with the best, but somehow missed out on the recognition they deserved. The band's 2 song set featured on the legendary '81 “Roxcalibur” compilation LP (“No Return” and “Brands Hatch”) is the only thing officially documented and circulated before this Sunderland / UK based 5-piece dipped into obscurity. With the NWOBHM genre being rediscovered, it is all the more reason to shine a light on this promising band that undoubtedly had the potential to take things further.....
Manic Mosh Metal had a chat with Brands Hatch members Brian Potts and Tony Wardle
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MMM: When and how did Brands Hatch originate, and did any of you have band experience before?
Brian: The band's origin goes way back to late `76 early `77. Then called Warrior and playing a set consisting of Pop / Rock covers. the line up was myself - Brian Potts ( guitar / vocals.), Gordon Potts (bass). Dave Ridley (guitar) John Paxton (drums). The band performed for a short while as a 4 piece before deciding to look for a frontman. First up was John Paxton's school mate Tony Wardle. Tony made a few brief appearances but he was too young and inexperienced. Next came Jackie (Gordon) Stringer but after failing to show for an important New Years Eve 1977 gig he was immediately fired. In early `78 Gary Loadman was appointed as lead singer. The band continued to gig as Warrior through '78 and `79, still playing Pop / Rock covers. Eventually a song written by me was included in the set called “Living Alone”. Another of my songs (“Halcyon Daze”) was tried out at rehearsals but it became clear at this point that guitarist Dave Ridley wasn't showing much interest in doing original material and parted company after his last gig on Oct 18th 1979 at Sunderland's “The Old 29” pub. The band then took a few months off to concentrate on rehearsing original material as a 4 piece. On Thursday 21st Feb 1980 the band performed for the first time as`Brands Hatch' at “The Old 29”. Another gig was arranged at the same venue for Sat. April 12th but history repeated itself when singer Gary Loadman failed to show. The gig went ahead with me on vocals and guitar. Once again the band were in need of a lead vocalist. Re-enter Tony Wardle. This time a little older and musically wiser he was offered the job. After many months off the road and solid rehearsing the new line up played their first gig at “The Bell” in Horden (County Durham) on Sun 30th Nov 1980.
Tony: I joined Brands Hatch either just before or after my 17th birthday in 1980. On the day of their first gig their singer didn't show. The gig was a Saturday afternoon at the legendary “Old 29” in Sunderland. Brian ended up doing all the lead vocals that day. Sometime shortly after, John Paxton asked me if I would be interested in an audition. I left my band and became a 'Hatch' member. I had been in a much earlier line-up of a covers band called Warrior with the Potts Brothers (Brian and Gordon) as well as school friend John Paxton, and Dave Ridley, and later the four of us would become Brands Hatch. Dave hung around with the band and played in various bands around the North East including playing guitar and keyboards with ex Beckett, Back Street Crawler and Charlie lead vocalist and MSG backing vocalist Terry Slessor.
MMM: Was the '81 4-song Guardian session that had the songs “No Return”, and “Brands Hatch” lifted for the 'Roxcalibur' compilation album, the only 'official' recording of the band at the time, and was it the Guardian label that invited you to record material for the LP?
Brian: The Guardian sessions were recorded on Sunday 14th June 1981 and are the only studio recordings made by the band. By June '81 we decided ourselves to go into a studio and record some tracks to try and get us noticed. After hearing a demo by local band Mythra which had been done at Guardian we decided to use the same studio. There was no mention of a compilation album at that point. We originally booked in for one day to record 4 songs but had to go back for another session to finish off. After it was all complete the engineer Terry Gavaghan mentioned putting together a compilation album. Initially the plan was to have 5 bands with 3 songs each then it was changed to 7 bands and two songs each (still at the same cost to each band I must add !). I think we paid about £200 for the session and a further £180 to be on the album. For this sum we received 100 albums per band. So in all, probably only 700 copies in circulation. We picked up our allocation of albums on Feb 27th 1982.
Tony: The four songs were the only official recording sessions by Brands Hatch. They were recorded a month after my 18th birthday.... Not while I was 17 as previously stated on some sites. This is probably down to my error. We booked the studio ourselves; It was quite costly at the time and we didn't have any benefactors.... I remember doing a home demo in the late 80's after Brands Hatch had disbanded that Brian had recorded with a drum machine and him playing all the guitar and bass parts that I put my vocals on... Ironically, if I remember correctly that was a Warbeck song. Also, a friend of the band, Neil Brown ( AKA Charlie), recorded some Brands Hatch rehearsals and gigs with a little tape recorder hidden in his coat, he sold them at gigs. We didn't find out till quite a while later.. There may be a recording of rehearsal sessions recorded through the desk; I don't know if any have surfaced.
MMM: Did the Guardian label have a say in the selection of songs for the “Roxcalibur” LP, as the other two tracks from the recording; “Halcyon Daze” and “Take What You Want” were equally strong numbers.
Brian: I'm sure the final choice of songs was down to Terry's persuasion as he wanted a heavy album and those two probably fitted the bill.
Tony: I don't remember Guardian having any say about which songs to use for the album. I think they agreed with our choice. . "Halcyon Daze" and "Take What You Want" were the other songs from that session. I think we made the right choice. However, I always felt we should have recorded another of Brian's songs called "Doomsday"; a cracking song, as was “Pictures In The Mind".
MMM:Could you list any other songs of the band at the time...
Brian: Other original material at the time that was never recorded ; “Timewaster”, “Doomsday”, “Lost For Words”, “(Fetch Me The Head Of ) John The Baptist”,“I Thought You Were Joking(Till I Saw Your Ass)”, “Pictures In The Mind”, “Miracle Man”, (all Brian Potts songs). Then, “Only The Good”, “Black Death”, “Deadmeat” (Brian Potts , Tony Wardle).
One thing that sticks in my mind about song writing in those days was the time I was on holiday at Butlin's holiday camp “Skegness” in `78. An idea for a song came to me whilst sitting on the toilet so I quickly jotted down some lyrics. The only paper to hand was a piece of that Izal medicated loo roll which was like tracing paper. I still have it to this day. Funnily enough that was the song called ` “I Thought You Were Joking `Till I Saw Your Ass”.
MMM: Would you say Focus was one of the inspirational sources of the band, referring to the track “Take What You Want”, sporting a riff that reminds of the song “Hocus Pocus” with hints of Blitzkrieg and Diamond Head thrown in.
Brian: I was aware of Focus and liked what I heard but I wouldn't say they inspired me to write “Take What You Want”. There are similarities with a lot of different bands in those songs but I would say Sabbath and Judas Priest were my main influences. Most of the stuff I wrote between`76 and `80 before Blitzkrieg and Diamond Head were even heard of.
Tony: "Take What You Want" was written around 1979? and that would possibly predate our knowledge of Diamond Head or Blitzkrieg at the time.
MMM: How come the band never followed things up with additional recordings or at least an independent / DIY single, as that was a popular thing back in those days, particularly for bands from the NWOBHM movement.
Brian: The plan was to go back and record more, but money was tight and we just never got round to it. John Paxton was replaced soon after the album came out by David Matlock on drums. We even started moonlighting as a cabaret band called `Snapshot' to raise more cash but it just seemed to go on P.A systems, lights, van etc.
Tony: As I already mentioned, it was quite costly at the time and we didn't have any benefactors .. We gigged a lot and ploughed every penny we made into P.A equipment, lights and a van. Obviously, on reflection it was a shame we didn't record more or bring out a single or an album. We were very well rehearsed with a collection of strong material. Four songs were recorded in one session with some vocals down too. The rest of the vocals and backing vocals were done at a session two weeks later which included the mixing of the tracks.
MMM: Around the same time you guys were around, there was another band with the very same name that released the '83 “Teacher, Teacher” single; did that ever cause any confusion?
Brian: We weren't aware of another band of the same name at the time. I only came across it a few years ago when searching the internet.
Tony: I had never heard of them till we (Brands Hatch) started to appear on You Tube a few years ago and their song popped up.
MMM: It seemed you guys did play a lot of shows, do you recall any in particular?
Tony: Supporting ex Bad Company and Free members band, Wildfire at 'Dingwalls', Newcastle, then going straight on to Sunderland to headline the legendary 'Sunderland Mecca' AKA 'Sunderland Locarno' that same evening. Middlesbrough Town Hall gigs at 'The Crypt' were always special, and a storming gig at 'Sunderland Poly'. So many gigs to choose from. Some of the smaller gigs over Durham Way were always good. There is something special when you are so close to an audience you can see the whites of their eyes, there's an atmosphere about an interment gig you can't always get from a bigger venue.
MMM: Tony, you started singing at a very early age in band format and recording...
Tony: I had been singing on and off since I was 13. I actually did my first gig with Warrior then ... I was very young and the lads were a little older. They were going to see live bands all be it under age. With my inexperience and lack of musical knowledge I was holding the lads back and I was asked to leave which even at the time I could fully understand. A few years later I'm still under age , watching live bands and bumping into the guys at gigs. John who I hang around with is telling the guys about bands I'm in and I'm having little talks with Brian when ever I bump into him. We found we where listening to the same bands and have similar interests in song writing. So we are all on each others radar it seems, we just don't know it yet. It would be fair to say that Brands Hatch even at that time were a step up from what I was doing, in terms of experience, showmanship, and equipment wise. My Memories of those days. Lots of rehearsals, party's, beer, girls, playing in a tight HM band, gigging, laughing all the time, hair down to my arse and still in my teens for the first few years .... What wasn't there to like? It was great while it lasted.
MMM: When did the band call it a day, and what bands did come out of Brands Hatch?
Brian: Officially Brands Hatch played their last gig at “The Old 29” Sunderland on Sat. 14th Dec 1985. In 1988 a reunion was planned with the Potts brothers, T. Wardle, D Matlock and a new guy Lyndsay Davison on guitar and keyboards, but after little interest was shown at a gig at “Washington Arts Centre” on Friday July 22nd 1988 they disbanded for good. Myself, Gordon and D. Matlock carried on with various different singers under different band names but never played any `Hatch' material. Various members played together in other bands but no Brands Hatch material was ever performed. Tony now has his Alfie Ibbotson band, Myself and Gordon play in a Glam Rock band called T.Rox and John plays with the Rattlers.
Tony: I became a little disillusioned with the music scene. The NWOBHM was losing momentum and we had seemed to have missed the boat. People were getting married, engaged and were moonlighting under different names as a covers band to keep buying equipment for the Brands Hatch shows, which we never seemed to have time to do as agents were booking the covers bands. It was a roller coaster we couldn't get off...Just as all this was happening, my Father became terminally ill, which was a drawn out illness that took my focus from our music as I was needed at home. I put my notice to Brian saying I would hang around till the guys found someone else I would imaging this would be around '85 / '86. I did dabble in a couple of Blues bands . It was music I always liked and didn't need the whole HM Band set up of lights, vans, big back lines, long rehearsals and road crew. It was something I could put down for a while and go to on and off with a revolving line up. Brands Hatch did the PA and lights for a show I did with a Blues band as we weren't geared up for bigger venues. The Blues bands kept me gigging on my terms during the terrible days of Dads illness and certainly helped.
MMM: With a sheer number a NWOBHM bands reforming, is there any chance you guys will get together again, and is there any chance of a re-release with all the Brands Hatch songs?
Brian: I knew this question would crop up at the end. It's usually one I try to avoid but I have been asked a few times recently. I know quite a lot of the N.W.O.B.H.M. bands have reformed lately but how many gigs are there for a band like us who have little to promote. I believe if a band splits up and doesn't play together for 30 years there must be a reason. To make things even more difficult we don't all live in the same county anymore and some of us haven't seen or spoken to each other in 10 years. We'll just have to wait and see if this interview generates any interest. You never know I might just change my mind.
Tony: You can never say never, yet it would be hard for me as I live too far away for regular rehearsals. Relocating for a months worth of rehearsals with a month or so sending tracks backwards and forwards checking keys etc, would be difficult. I feel there is a few festivals that could be done but it's the time, commitment and as a vocalist would I be up to the job these days for a two hour show? Recording... That's a different matter, It would help us judge whether a market is still there? I have recorded vocals as a session vocalist at nearby St Annes, Lancashire (I live in Preston) - at my guitarists studio from files sent to us from as local as Manchester to as far away as America. I record vocals for people I have never met, sometimes I have never spoken to them, this track was recorded with musicians I have never met. http://youtu.be/7z4FgRrYFbohe
The Song itself has received airplay all over Europe especially Germany and Ireland. It's been played in the USA too. ... UFO have done similar things in the past, Via distant recording with two Sunderland lads, Ton Van Frater (R.I.P) from Red Alert, Angelic Upstarts and Cockney Rejects, did pre-production recordings for Pete Way and Neil Wilkinson from Spartan Warrior (Who have a new album out !), did recordings for UFO guitar parts in pre-production, in Neil's case, his playing may have made the final recordings! If Brands Hatch wanted to do it with someone else I wouldn't have any problem; It's a time consuming business, you only get out, what you put in. As all of us are involved with other projects and day job, not just music, It would have to be something pretty special .
MMM: Anything else you'd like to add...
Tony: l originally saw Brands Hatch as a vehicle for Brian's songwriting, even before I joined, John had told me their plan. I never expected or thought I would be a part of it. I had my own covers band, that band were a close bunch. It was like losing a family when I left. It was the right choice to leave but a tough one at the time.Later, as Brands Hatch grew, others would contribute to songwriting and arranging but it's safe to say almost all of the songs were Brian's own work with the odd lyric changed by me and some arranging by the band. The songs were usually fully written and arranged by Brian and tweaked by us as we learnt them during rehearsals. I remember Russ Tippins from Satan coming over to me at 'Steels Club' in Sunderland around the mid 2000's apologising for stealing the lines "Hear No Evil" lyric sequence from "No return" I said "don't say sorry to me, say sorry to Brian". Satan were a bit of enigma to us. Brands Hatch in my opinion had a Black Sabbath or Ground Hogs feel to the music. We were a 3 piece musically; we played with Satan at 'The Crypt' at Middlesbrough. Black Rose were on the same bill. Chris Watson from Black Rose said; “ You will never believe this lot” pointing at Satan. He said their music is really strange ... We were gobsmacked when they came on. They opened the show, our first experience of Thrash Metal ! They were so far ahead of the time, it must have been '81 / '82 . They were great lads but I didn't get it. We had this song, “Black Death” and when, in Satan's honour, tongues firmly in cheek, we first played it in their style at the 'Sunderland Mecca' I swear it went down as the best song that evening.... You live and learn!
Brian: As for “Black Death”; the music was written by me, along with the chorus and given the title back in '76. I then presented it to Tony years later when he added the lyrics for the verses. To finish it off we took the last segment from the song `Pictures In The Mind' and segued it to the end of Black Death. It was the opening riff to Black Death that sounded like Sabbath's “Children Of The Grave”.
Tony: There's another song I wrote the lyrics for and played bit some Blues Harp on, called "Mr Jenkins." It was our “Smoke On The Water”; our song about one of our favourite midweek Rock night clubs that occasionally had bands on. A couple of days before a return gig there, the Night Club (“Rumours”) burnt down. It was situated right down on the beach by the sea in Sunderland. Me, Stephen Wardle (brother and Roadie ) with Gerry Naugher (lifelong Friend and Roadie) came up with the idea over a few beers. I got the verses and chorus down as we got drunk and played cards...Surprisingly, it still looked good the next day .. Unlike us...It was a 12 bar throw away little number that brought a smile.
I'm not currently playing in a H.M band, I do gigs with a Blues, classic Rock band and play a some Blues harmonica too in The Alfie Ibbotson Popular Beat Combo (www.alfieibbotson.com) Just for fun; pubs, the occasional club and the odd festival. Myself and Brands Hatch members, Brian Potts and John Paxton played together in a Glam Rock Band touring around the UK for many years with Mick Percy from Battle Axe called The Great Glam Mothers. That band lasted from late 1997 to very early 2011 in various line-ups. (Gordon Potts from Brands Hatch had a stint doing the sound with the band). Did a few gigs around 1991 as "Rock Gods" with John Stormont (ex Spartan Warrior, Jess Cox Band and Battle Axe). From around 1989/90 myself and Mick Percy had a an original band called The Creed; I don't have any recordings even though we had practically an album in the can but someone is sending/ mailing me a cassette of the first recording sessions. We did two main sessions. If it's in good condition, I will make a file and put it on Youtube. Anyone wanting vocals or backing vocals on their recordings I can be contacted at tonywardlevocals@gmail.com
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Above left: Tony Wardle with the 'Great Glam Mothers', Centre and right: Tony Wardle with The Alfie Ibbotson Popular Beat Combo.
APOCALYPSE is one of such quality acts to emerge from the NWOBHM thing in its early days, only to dissolve in the mass production of independent vinyls. At present, the band’s ’82 “Stormchild” single is a much sought after item, and only known to a privileged few who are lucky enough to own a copy. Here's an interview with guitarist Steve Crainger on the history of this obscure NWOBHM band that, at a later stage was also known as OMEGA which released an album in'85 "The Prophet" alongside an earlier '83 contribution, "Blood Sacrifice" to the "Metal Warriors" compilation LP (Ebony records)
MMM: To what year does the history of APOCALYPSE date back?
Steve: As far as I recall we formed in about 1980. None of us quite remember the exact dates, it didn't seem that it would be important at the time!
MMM: How did the line-up look like in its early stages, and has this been the line-up throughout the band's career (as Apocalypse)?
Steve: The band sort of evolved out of the remains of various bands. The fact is that Marc My brother was dep. drumming for a band called Stone Lady they were basically coming to and end, going through all sorts of changes member wise, and when the guitarist left Marc “fulfilled his obligation” and got me in and a new band was formed. APOCALYPSE. Nick Brent was the vocalist in Stone Lady a guy called Dave “Mex” Higgins was the bassist then there was me on lead guitar/keyboards/vocals and Marc on drums. Marc and I had always played in the same bands PHAZE and BACK FROM NOWHERE and so it was to continue. It was only a short while, only a matter of weeks, before Mex left the new band to set up a studio (one that we used to use whenever we could) and Dave Robertson joined us. So there we were Nick Brent, Dave Robertson, Steve Grainger and Marc Grainger…APOCALYPSE.
MMM: Has there been any demos of some sort, either promotional dubs or official cassettes, been produced and circulated prior to the '82 single?
Steve: There were various demos made by us many of which got sold at gigs and this has been where all the collectors have got their hands on our stuff. We would just put something together and duplicate them at home on an old cassette deck. To be honest the quality was always a bit rough and ready, not because we were slapdash in our approach but these things cost money, which we didn't have. I wish I could be more precise about the timings etc but the details escape us. I have only got old cassettes with our music on myself from the early days but I do have some stuff that we did after Nick had left OMEGA. (Read on dear reader I cover that later on!) I'd like to put all the old hiss and warped demos together on a specialist CD. Tracks that are: “Night Stalker” the Neil Kaye Mix, recorded at Tin Pan Alley, London, “Blood Sacrifice”, “Abandon Hope” both recorded in Hull at EBONY around 1982, “Summertime”, “Midnight Train”, “The Child”, also known as “The Light”, apparently, “Heat Of The Night”; all recorded at Mex Higgins studio London 1980 /81 ish, “Dream Those Dreams”; Recorded here at my studio in N London mid 1980s. I think that's all we did. Mind you as I have found recently sometimes you lot know better than me. Clearly a CD like this would only be appreciated by the serious collector of our stuff. Maybe combined with some old as of yet unseen pics of the band. But hey, that's another project. What do you reckon? Suffice to say that most of these tracks will be on a new album in a more presentable/re-recorded fashion ! I am working on getting some sort of retrospective together in the form of a new album right now using the better recordings done by me Marc and Dave circa 1990 which were all 'old' tracks from APOCALYPSE even then plus some of the more recent tracks that we have re-done.
MMM: Being a London-based act at the height of the NWOBHM hype, there must have been an opportunity or two to do shows throughout the capital... what about the East-London Ruskin Arms, ever played there?
Steve: We played all over London and the home counties , you name it we probably played it. THE RUSKIN ARMS? Oh yes... loads of times. We loved it there, of course we were all in the shadow of the mighty IRON MAIDEN. It was their home turf. That place in those days was a fantastic venue. A great stage in a matt black room and, as I recall, one light bulb hanging from the ceiling on a flex, so if you had no light show you were stuffed. We even played as a stand-in to Maiden on one occasion, I'm not sure what the audience made of it but hey! We did ok. The most lasting impression of the Ruskin Arms was at Christmas one year we played to an audience of all sorts. People all out for a bevvie, staggering around in various states of intoxication. As we were packing up after the gig some poor sod fell backwards into Marc's bass drum case and got stuck. He looked like an upturned tortoise. People were wetting themselves watching him try to get out. Naturally no-one tried to help…..GLEE! The last drum to be packed away was the bass drum (no shit) only then did the roadies offer to up-end the case and shake him out.
MMM: Referring to the single tracks, - if that is representative for the repertoire produced at the time - it surely towers high above the bulk of bands from the genre; why is it then that Apocalypse did not connect with pioneering labels such as Neat, Heavy Metal records, or Ebony? Have any of these labels ever been approached, and/or has any (early) Apocalypse material been shopped around to other labels?
Steve: The single was pretty representative of what we were doing at the time. I was a trained musician and wrote pretty much all the music whilst Nick wrote pretty much all of the lyrics. Musically I was always looking to have a good solid riff but it had to more than just loud. I don't know why we never got picked up in a big way by any of the labels at the time. But looking back there was a moment later on as OMEGA when the album had come out we were pencilled in for a heavy Metal TV show on channel 4. At the last minute we were replaced by THOR on the grounds that we were ''too musical' Perhaps there was always that sort of 'feel' to our music that people now seem to appreciate but at the time was not considered to be part of the 'main stream' New Wave... We recorded two tracks for Ebony one of which, “Blood Sacrifice”, went on the Metal Warriors compilation album. The other track was “Abandon Hope” (All Ye Who Enter Here) we used that on various demo tapes.
MMM: The single was released on the obscure Gate label; was this a full-force independent or just a moniker for a private press?
Steve: GATE RECORDS was our own label. We got fed up of being shrugged off by numerous record companies of the day so we thought, ''sod it we'll do it on our own''. My mum gave us £200 to go into the studio and record the single. We recorded it over a weekend at Stable Studios in Oxford somewhere. I recently found a roll of black and white film negs of the time we spent up there when I get the time I will put a load of the images on the APOCALYPSE website that I am currently slaving over. WE used money from gigs to pay for the pressings and basically did all the foot work our selves. Some were stuck in pub jukeboxes and the rest we sold through friends, acquaintances and at our gigs
MMM: How many copies of the single have been pressed, and did they all come with the (picture) sleeve?
Steve: I think that it was a small run of 1000 that got pressed. Almost all of them had the lyric sleeve some of them were without and were 'dinked' for jukeboxes. At what we considered to be a sensible time we threw away many boxes of unsold singles, with the album coming out we didn't see the need in keeping them… aaaaaagh!!! Idiots. I had an opened box in my hand and thought ''I'll keep hold of this one in case my copy of the single gets scratched'' so I had about 20 or so in a box in my loft for the last two decades. You can't believe how I felt when I found them again knowing what they were potentially worth!!!!!!! Oh and yes I still have about ten of them. And they are the only ones left, to my knowledge, on the planet
MMM: Did the single receive any feedback over in central Europe fanzine-wise, as little to nothing is known about the band, until it got picked up by die-hard collectors some 30+ years onwards...
Steve: Essentially the single remained a UK thing. We were after all quite naïve in the world of record distribution and marketing. Heh! I still am. We just plugged away at what we did best, and that was to play to a live audience. The single was very popular at Road shows put on by in particular Neil Kaye and the Rainbow Disco. The single made it to number ten in the independent heavy metal chart. We were over the moon but we still didn't get picked up by a label. We were well known by a small section of the public but it wasn't enough o persuade any real promotion by the big boys.
MMM: Gauging the concept on the single, there's a strong resemblance to both Soldier and Trespass; have these, in any way, been an inspirational source, or is this musical click purely coincidental?
Steve: Musically I was not the most travelled individual. Indeed I tried to not be influenced by others. I always wanted to be original, a difficult task it has to be agreed, but the desire was there all the same. Years on it is easier to see the odd influence but it wasn't from the bands you mention.
MMM: What's been the prime, inspirational sources anyways?
Steve: Lyrically Nick was well into Stephen King and the like so he had an obvious leaning towards the dark and mystical verse. I was into ACDC, Floyd, and Mott The Hoople. Black Sabbath, Alice Cooper, ELO, and all forms of the Blues. Bach, Motown............blimey, you name it. I just like a good track and would listen to music on that basis rather than, say, only listening to a small number of bands just because they were a particular style. Does that make sense? There are some damm good songs done by some awful bands.
MMM: How many originals did the Apocalypse repertoire count, and have any of its songs been transported to the later, Omega set?
Steve: All of THE PROPHET (Omega) was originally Apocalypse material Plus a handful of other tracks. We did a few covers as well. It would be rude not to… “Smoke On The Water”, “Paranoid”, “Don't Believe A Word”, “Freebird”, “Born To Be Wild”; All great tracks which seemed to fit into our set quite well particularly as we played them like our own stuff rather than trying to recreate the original. Hey we used to do a great version of Gershwins’ “Summertime” and of course “Day-Tripper” by some bloke called McCartney or something.
MMM: Why exactly did you change moniker to Omega? Did this mark a new direction both musical and marketing - wise?
Steve: We changed our name because there was another band of the same name. They seemed to be doing alright, as were we, and we had a good bit of free publicity in the music press arguing through the letters pages with each other but it couldn't go on. They were a different style to us, sort of punkish as I recall. Leastways that's what their fans appeared to be when they rather nervously stood amongst all the bikers and metal heads that came to our gigs! The trouble was they were mates, apparently, with one Paul Weller. This at the time seemed to have an element of clout about it. Personally I think I would of stuck it out, fuck them I thought. Still we changed our name. As a side issue; my brother Marc had fallen in love, sadly the girl didn't see the point in being a drummer in a band of scruffs like APOCALYPSE and convinced him one way or another that it was a bloody good idea to leave the band. It was a bad time for me and I suppose I thought, “hey, change the name of the band”, I didn't care. It was going to be a different band without my brother. That's when Graham Roberts '’passed the audition'’ and was in.
MMM: Did the overall response to the band / concept as Omega measure up to that under the banner of Apocalypse?
Steve: Yeah, we seemed to go down well. Most people knew who we were anyway. The music just carried on in natural progression, I suppose.
MMM: As Omega, you submitted a track – the Rainbow meets Hawkwind-ish - “Blood Sacrifice” to the '83 “Metal Warriors” compilation (Ebony); did this trigger any (international) response?
Steve: Sadly not.
MMM: One would expect, this appearance would be an upstart for a recording deal with the aforementioned; then why is it that Omega's '85 “The Prophet” LP appeared on the Rock Machine label instead?
Steve: To be honest, I don't think it even occurred to us to go for it with EBONY. We liked Daryl he was a good bloke but I think he was more into releasing his very successful products of the compilation variety rather than promoting a one act album. The way it worked with Ebony at the time was that the band would pay a nominal rate for studio time in Daryl's studio. That would give the band a great demo recording session in a 24 track studio at an 8 track price if anything was up to the mark it would get on the next Album. It was a great idea; there were no losers in the deal. We got some more exposure and kudos being on Metal Warriors. I wish we had had more time to do the two tracks there. I felt they were a bit rushed and not as good as we could have done. In hindsight I reckon we should have just done one track in our time there. It would have been a lot better. Quality not quantity eh? After Jerry Floyd, our manager at the time, died we enlisted John Marriot to help us out. John, the now well-known London Film critic, was no stranger to PR. The idea was put forward to release an album, at our own expense if necessary, just like the single only bigger. Mean whilst John brokered a deal with RAZOR RECORDS who would release the album on license worldwide. Razor were a Punk label at heart and created Rock Machine as they wanted to move into New Wave as it was known then. At the time I think they had Samson and us on the label.
MMM: What happened with the band afterwards; it seems the concept never furthered, so, what acts its members drift off to?
Steve: We thought ''this is it, were off'' but all to soon the reality of things crept in. We needed to get on a tour with a named band. This would require considerable funding and if all was to be believed a sizeable 'backhanders' budget. Razor didn't seem to keen to go down that route. We were at their mercy really. We were two big for a lot of the rock pubs but not big enough for the larger venues and we just got stuck in limbo. The album got a rough deal At the hands of the critics in America. We needed to get a market there I suppose but I wasn't going to happen. I don't think they liked the title of the album down in the bible belts and they certainly didn't like the doom and gloom, end of the world message that we put out. The thing is, they just didn't get it. They took it all to seriously. The band seemed to lose momentum. It just fizzled out. Then Nick decided that he was gonna go off and find himself and I guess that was it. So never one to give up I bought a load of recording equipment and set up a small studio. Me, Marc and Dave got back together here and there and did a bit of recording. Nick was sort of around for a while. However, Nick and I wrote our last song together around that time, a good old blues number “Dreamed Those Dreams”.
MMM: Anything else you'd like to add?
Steve: Yes. A big THANK YOU to all our fans new and old. Thanks to all you websites E-journalists and enthusiasts who keep this music alive. We would be nowhere without you. All the best, Steve Grainger
MMM: To what year does the history of APOCALYPSE date back?
Steve: As far as I recall we formed in about 1980. None of us quite remember the exact dates, it didn't seem that it would be important at the time!
MMM: How did the line-up look like in its early stages, and has this been the line-up throughout the band's career (as Apocalypse)?
Steve: The band sort of evolved out of the remains of various bands. The fact is that Marc My brother was dep. drumming for a band called Stone Lady they were basically coming to and end, going through all sorts of changes member wise, and when the guitarist left Marc “fulfilled his obligation” and got me in and a new band was formed. APOCALYPSE. Nick Brent was the vocalist in Stone Lady a guy called Dave “Mex” Higgins was the bassist then there was me on lead guitar/keyboards/vocals and Marc on drums. Marc and I had always played in the same bands PHAZE and BACK FROM NOWHERE and so it was to continue. It was only a short while, only a matter of weeks, before Mex left the new band to set up a studio (one that we used to use whenever we could) and Dave Robertson joined us. So there we were Nick Brent, Dave Robertson, Steve Grainger and Marc Grainger…APOCALYPSE.
MMM: Has there been any demos of some sort, either promotional dubs or official cassettes, been produced and circulated prior to the '82 single?
Steve: There were various demos made by us many of which got sold at gigs and this has been where all the collectors have got their hands on our stuff. We would just put something together and duplicate them at home on an old cassette deck. To be honest the quality was always a bit rough and ready, not because we were slapdash in our approach but these things cost money, which we didn't have. I wish I could be more precise about the timings etc but the details escape us. I have only got old cassettes with our music on myself from the early days but I do have some stuff that we did after Nick had left OMEGA. (Read on dear reader I cover that later on!) I'd like to put all the old hiss and warped demos together on a specialist CD. Tracks that are: “Night Stalker” the Neil Kaye Mix, recorded at Tin Pan Alley, London, “Blood Sacrifice”, “Abandon Hope” both recorded in Hull at EBONY around 1982, “Summertime”, “Midnight Train”, “The Child”, also known as “The Light”, apparently, “Heat Of The Night”; all recorded at Mex Higgins studio London 1980 /81 ish, “Dream Those Dreams”; Recorded here at my studio in N London mid 1980s. I think that's all we did. Mind you as I have found recently sometimes you lot know better than me. Clearly a CD like this would only be appreciated by the serious collector of our stuff. Maybe combined with some old as of yet unseen pics of the band. But hey, that's another project. What do you reckon? Suffice to say that most of these tracks will be on a new album in a more presentable/re-recorded fashion ! I am working on getting some sort of retrospective together in the form of a new album right now using the better recordings done by me Marc and Dave circa 1990 which were all 'old' tracks from APOCALYPSE even then plus some of the more recent tracks that we have re-done.
MMM: Being a London-based act at the height of the NWOBHM hype, there must have been an opportunity or two to do shows throughout the capital... what about the East-London Ruskin Arms, ever played there?
Steve: We played all over London and the home counties , you name it we probably played it. THE RUSKIN ARMS? Oh yes... loads of times. We loved it there, of course we were all in the shadow of the mighty IRON MAIDEN. It was their home turf. That place in those days was a fantastic venue. A great stage in a matt black room and, as I recall, one light bulb hanging from the ceiling on a flex, so if you had no light show you were stuffed. We even played as a stand-in to Maiden on one occasion, I'm not sure what the audience made of it but hey! We did ok. The most lasting impression of the Ruskin Arms was at Christmas one year we played to an audience of all sorts. People all out for a bevvie, staggering around in various states of intoxication. As we were packing up after the gig some poor sod fell backwards into Marc's bass drum case and got stuck. He looked like an upturned tortoise. People were wetting themselves watching him try to get out. Naturally no-one tried to help…..GLEE! The last drum to be packed away was the bass drum (no shit) only then did the roadies offer to up-end the case and shake him out.
MMM: Referring to the single tracks, - if that is representative for the repertoire produced at the time - it surely towers high above the bulk of bands from the genre; why is it then that Apocalypse did not connect with pioneering labels such as Neat, Heavy Metal records, or Ebony? Have any of these labels ever been approached, and/or has any (early) Apocalypse material been shopped around to other labels?
Steve: The single was pretty representative of what we were doing at the time. I was a trained musician and wrote pretty much all the music whilst Nick wrote pretty much all of the lyrics. Musically I was always looking to have a good solid riff but it had to more than just loud. I don't know why we never got picked up in a big way by any of the labels at the time. But looking back there was a moment later on as OMEGA when the album had come out we were pencilled in for a heavy Metal TV show on channel 4. At the last minute we were replaced by THOR on the grounds that we were ''too musical' Perhaps there was always that sort of 'feel' to our music that people now seem to appreciate but at the time was not considered to be part of the 'main stream' New Wave... We recorded two tracks for Ebony one of which, “Blood Sacrifice”, went on the Metal Warriors compilation album. The other track was “Abandon Hope” (All Ye Who Enter Here) we used that on various demo tapes.
MMM: The single was released on the obscure Gate label; was this a full-force independent or just a moniker for a private press?
Steve: GATE RECORDS was our own label. We got fed up of being shrugged off by numerous record companies of the day so we thought, ''sod it we'll do it on our own''. My mum gave us £200 to go into the studio and record the single. We recorded it over a weekend at Stable Studios in Oxford somewhere. I recently found a roll of black and white film negs of the time we spent up there when I get the time I will put a load of the images on the APOCALYPSE website that I am currently slaving over. WE used money from gigs to pay for the pressings and basically did all the foot work our selves. Some were stuck in pub jukeboxes and the rest we sold through friends, acquaintances and at our gigs
MMM: How many copies of the single have been pressed, and did they all come with the (picture) sleeve?
Steve: I think that it was a small run of 1000 that got pressed. Almost all of them had the lyric sleeve some of them were without and were 'dinked' for jukeboxes. At what we considered to be a sensible time we threw away many boxes of unsold singles, with the album coming out we didn't see the need in keeping them… aaaaaagh!!! Idiots. I had an opened box in my hand and thought ''I'll keep hold of this one in case my copy of the single gets scratched'' so I had about 20 or so in a box in my loft for the last two decades. You can't believe how I felt when I found them again knowing what they were potentially worth!!!!!!! Oh and yes I still have about ten of them. And they are the only ones left, to my knowledge, on the planet
MMM: Did the single receive any feedback over in central Europe fanzine-wise, as little to nothing is known about the band, until it got picked up by die-hard collectors some 30+ years onwards...
Steve: Essentially the single remained a UK thing. We were after all quite naïve in the world of record distribution and marketing. Heh! I still am. We just plugged away at what we did best, and that was to play to a live audience. The single was very popular at Road shows put on by in particular Neil Kaye and the Rainbow Disco. The single made it to number ten in the independent heavy metal chart. We were over the moon but we still didn't get picked up by a label. We were well known by a small section of the public but it wasn't enough o persuade any real promotion by the big boys.
MMM: Gauging the concept on the single, there's a strong resemblance to both Soldier and Trespass; have these, in any way, been an inspirational source, or is this musical click purely coincidental?
Steve: Musically I was not the most travelled individual. Indeed I tried to not be influenced by others. I always wanted to be original, a difficult task it has to be agreed, but the desire was there all the same. Years on it is easier to see the odd influence but it wasn't from the bands you mention.
MMM: What's been the prime, inspirational sources anyways?
Steve: Lyrically Nick was well into Stephen King and the like so he had an obvious leaning towards the dark and mystical verse. I was into ACDC, Floyd, and Mott The Hoople. Black Sabbath, Alice Cooper, ELO, and all forms of the Blues. Bach, Motown............blimey, you name it. I just like a good track and would listen to music on that basis rather than, say, only listening to a small number of bands just because they were a particular style. Does that make sense? There are some damm good songs done by some awful bands.
MMM: How many originals did the Apocalypse repertoire count, and have any of its songs been transported to the later, Omega set?
Steve: All of THE PROPHET (Omega) was originally Apocalypse material Plus a handful of other tracks. We did a few covers as well. It would be rude not to… “Smoke On The Water”, “Paranoid”, “Don't Believe A Word”, “Freebird”, “Born To Be Wild”; All great tracks which seemed to fit into our set quite well particularly as we played them like our own stuff rather than trying to recreate the original. Hey we used to do a great version of Gershwins’ “Summertime” and of course “Day-Tripper” by some bloke called McCartney or something.
MMM: Why exactly did you change moniker to Omega? Did this mark a new direction both musical and marketing - wise?
Steve: We changed our name because there was another band of the same name. They seemed to be doing alright, as were we, and we had a good bit of free publicity in the music press arguing through the letters pages with each other but it couldn't go on. They were a different style to us, sort of punkish as I recall. Leastways that's what their fans appeared to be when they rather nervously stood amongst all the bikers and metal heads that came to our gigs! The trouble was they were mates, apparently, with one Paul Weller. This at the time seemed to have an element of clout about it. Personally I think I would of stuck it out, fuck them I thought. Still we changed our name. As a side issue; my brother Marc had fallen in love, sadly the girl didn't see the point in being a drummer in a band of scruffs like APOCALYPSE and convinced him one way or another that it was a bloody good idea to leave the band. It was a bad time for me and I suppose I thought, “hey, change the name of the band”, I didn't care. It was going to be a different band without my brother. That's when Graham Roberts '’passed the audition'’ and was in.
MMM: Did the overall response to the band / concept as Omega measure up to that under the banner of Apocalypse?
Steve: Yeah, we seemed to go down well. Most people knew who we were anyway. The music just carried on in natural progression, I suppose.
MMM: As Omega, you submitted a track – the Rainbow meets Hawkwind-ish - “Blood Sacrifice” to the '83 “Metal Warriors” compilation (Ebony); did this trigger any (international) response?
Steve: Sadly not.
MMM: One would expect, this appearance would be an upstart for a recording deal with the aforementioned; then why is it that Omega's '85 “The Prophet” LP appeared on the Rock Machine label instead?
Steve: To be honest, I don't think it even occurred to us to go for it with EBONY. We liked Daryl he was a good bloke but I think he was more into releasing his very successful products of the compilation variety rather than promoting a one act album. The way it worked with Ebony at the time was that the band would pay a nominal rate for studio time in Daryl's studio. That would give the band a great demo recording session in a 24 track studio at an 8 track price if anything was up to the mark it would get on the next Album. It was a great idea; there were no losers in the deal. We got some more exposure and kudos being on Metal Warriors. I wish we had had more time to do the two tracks there. I felt they were a bit rushed and not as good as we could have done. In hindsight I reckon we should have just done one track in our time there. It would have been a lot better. Quality not quantity eh? After Jerry Floyd, our manager at the time, died we enlisted John Marriot to help us out. John, the now well-known London Film critic, was no stranger to PR. The idea was put forward to release an album, at our own expense if necessary, just like the single only bigger. Mean whilst John brokered a deal with RAZOR RECORDS who would release the album on license worldwide. Razor were a Punk label at heart and created Rock Machine as they wanted to move into New Wave as it was known then. At the time I think they had Samson and us on the label.
MMM: What happened with the band afterwards; it seems the concept never furthered, so, what acts its members drift off to?
Steve: We thought ''this is it, were off'' but all to soon the reality of things crept in. We needed to get on a tour with a named band. This would require considerable funding and if all was to be believed a sizeable 'backhanders' budget. Razor didn't seem to keen to go down that route. We were at their mercy really. We were two big for a lot of the rock pubs but not big enough for the larger venues and we just got stuck in limbo. The album got a rough deal At the hands of the critics in America. We needed to get a market there I suppose but I wasn't going to happen. I don't think they liked the title of the album down in the bible belts and they certainly didn't like the doom and gloom, end of the world message that we put out. The thing is, they just didn't get it. They took it all to seriously. The band seemed to lose momentum. It just fizzled out. Then Nick decided that he was gonna go off and find himself and I guess that was it. So never one to give up I bought a load of recording equipment and set up a small studio. Me, Marc and Dave got back together here and there and did a bit of recording. Nick was sort of around for a while. However, Nick and I wrote our last song together around that time, a good old blues number “Dreamed Those Dreams”.
MMM: Anything else you'd like to add?
Steve: Yes. A big THANK YOU to all our fans new and old. Thanks to all you websites E-journalists and enthusiasts who keep this music alive. We would be nowhere without you. All the best, Steve Grainger
The Dragonfly EP ranks high up in NWOBHM collectibles, and not without reason; as not only has this gem been circulated in a very small press, it also displayed a most creative brand of NWOBHM with a staggering potential. With this, Dragonfly definitely could have gone places, but again, this is a classic case of a brilliant NWOBHM act missing out on recognition. Manic Mosh Metal had a talk with Dragonfly guitarist Stephen Heath
MMM: Which bands did DRAGONFLY emerge from, or was this the first experience in full band format for its members?
Stephen: Basically, this was the first (true) full band experience for all of us, and which began in early ‘79! (and ended in ‘81!)
MMM: It seems, the band didn't take too long to get to the vinyl stage; knowing this, the first set must have included more originals than covers or wasn't DRAGONFLY much of a live-act in its early stage?
Stephen: We have never played covers! From the word go, we knew exactly what we wanted to do! This was to eventually become serious contenders, standing alongside the bands that we grew up with and respected! (I'm talking Judas Priest - Scorpions - etc-etc here!) The idea of simply playing covers in pubs for example, never even occurred to us! We were that confident, and had that 'all or nothing' attitude and vision! The vinyl stage occurred, maybe half way within three years, 1979 - 1981. Much of a live-act in our early stages? Well, yes, we were pretty busy! Actually, our very first gig was with AngelWitch at the "Ruskin Arms".
MMM: Did you record any demos or rehearsals prior to the EP and have any promotional dubs / demos been shopped around to record labels, if so, which have been approached?
Stephen: For sure! We recorded our first demo (which included the songs "High-Talk” and "Loser") at the "Orange Recording Studio" London W1. We then recorded these other songs - (as demos) - "Mercy" - "No No No" - Reasons" - (and later on) - "Dragonfly" - (and an earlier / different version of) - "Silent Nights". As for approaching record labels, we mostly sent them to all the majors that you'd expect. We did have interest from A&M, and they wanted to know if we could also write something that could "cross-over" commercially. So, we intentionally recorded a more commercial pop/rock song called "Stop Your Fooling" (which was very "Thin Lizzy"). Very catchy, but certainly not "us" y' know...?
* So, was the DIY press of the EP a direct result of no labels showing any interest in the band?
Stephen: Not really, it was more a case of us not only trying to "get a foot in the door", but us trying to "get both feet in the door!" What I mean by that is, by having an EP out there, more people had the opportunity to hear us, thus creating a wider audience for us, and at the same time, the wider the audience, the greater the chances of record labels showing curiosity and interest.
MMM: Where was the EP recorded and how many recording tracks were used?
Stephen: I don't recall the name of the studio, but it wasn't more than a few minutes walk from the "Ruskin Arms" in Manor Park E12. The studio was beneath a Pet Shop of all things! Oh dear, (I'd guess that gave the Parrots something to talk about) I mean, we were L-O-U-D...! I can't remember how many tracks were used.
MMM: How many copies of the DRAGONFLY EP were pressed, and did they all come with the sleeve?
Stephen: Five Hundred. (I do know that a lot of them have been destroyed though!) Yes, they all came with sleeves.
MMM: Back in the days, the East Ham location was one of the epicenters of the NWOBHM, mushrooming bands, and with a vivid live-scene which included the famous Ruskin Arms pub. How did you encounter this, and was this of any advantage to you being located there?
Stephen: Well, the very fact that the Ruskin Arms was within the "location" you've mentioned, does I guess, lend itself to the area being an "epicenter" of NWOBHM. I mean, as well as ourselves, Iron Maiden came from the area, as indeed did Phil Collen. So yes, consequently, the live scene was quite"vivid"! We encountered this, simply because we all lived locally, and were therefore able to witness (whilst it seems, being part of) the NWOBHM scene that was developing around us. And yes, it was advantageous for us, because we had a very well established NWOBHM venue, practically on our doorstep.
MMM: Did the success of locals Iron Maiden trigger the formation of new NWOBHM bands from the East London area, and has their success been a blueprint for others trying to follow their footsteps in the genre?
Stephen: In a way, yes... there certainly did seem to be a lot of bands appearing around that time. What you are saying about Iron Maiden is interesting, because I think that in an almost unrealized way, a lot of bands perhaps felt that once they were playing the Ruskin Arms regularly, they were suddenly walking in the shadow of (Iron Maiden's) success, and that one thing could / would follow the other... Not so! I think that Iron Maiden's rise and success, was equally - (perhaps even more-so) - to do with their "Sound House Tapes" single being favoured and pushed by DJ Neil Kay. (Although there's absolutely no denying the Iron Maiden/Ruskin Arms, er… "legend"!). Yeah... I guess it is true to say that to an extent, there did appear to be a "blueprint for success" for other bands to (try to) follow there.
MMM: Gauging the EP, The DRAGONFLY sound was genuine NWOBHM, but, additionally featured light blends of Doom (intro/outro of "Silent Nights", plus the one-off, slug riffed sections in both "Spacebound" and "Mercy"), as well as it incorporated Fusion-esque hooks running underneath the solo in "Spacebound"; where did these come from inspirational-wise, and/or was this purely experimental?
Stephen: To analyze it to such an extent, is (for me) difficult really. I know this is quite a basic answer, but it really was just down to the natural flow of composition and content. I honestly can't say that (in my opinion) we were in any way experimental!
MMM: The DRAGONFLY EP holds quite a diverse palette of songs; was there any specific musical direction the band would opt for, or was the sound/repertoire simply this diverse...? besides, its songs are pretty in-depth, in comparison to the regular NWOBHM act...
Stephen: I would say that the musical direction that we were aiming for, was to be almost a "kaleidoscope" of the bands that we liked and were influenced by. Our influences at that time were very much Judas Priest, Scorpions, Van Halen. - ("Van Preistions" perhaps?) - In regards to the songs on the EP being diverse, I think this is because these influences hadn't come together, and "gelled" properly at that point... we really hadn't been together that long don't forget! Hmm... yes, I agree that the songs are in depth, compared to many of the regular NWOBHM bands.
MMM: Although the EP is now being favoured at large by NWOBHM aficionados worldwide, it surprisingly did not do the trick recognition wise, back in the days, quite remarkable isn't it?
Stephen: A reason for it not doing the trick recognition wise? Possibly because it wasn't too long after the recording of it, that we, er... split up! Y' know It's strange, but I certainly did sense a slight "indifference" to it from people at the time of us "releasing" it. I believe that within our ranks, Dragonfly had a great song writing ability and a great potential to go further in that area... perhaps more-so than the vast majority of other NWOBHM bands. As you say, the songs were quite "in depth" for its genre, and that may be one of the reasons that it does seem to be lasting the "test of time" so to speak.
MMM: What happened after the release of the E.P; was any further material being recorded? There's talk of such material with a change onto a more common musical interpretation... Has any of this been officially released?
Stephen: Maybe about 9 months after the E.P's release, we split up... so no, there was no further material recorded what-so-ever.
MMM: What happened after the band called it quits, did any of its members further their career in related or similar bands or completely different bands?
Stephen: Myself; Okay... what happened was this. In May 81, Uli Jon Roth - (who I've known and been friends with since 1978) - asked (after Dragonfly had ended) if I'd "be interested in playing second guitar" thus augmenting, and being a part of, his (then a three piece) band "Electric Sun"! Well, to say that I was in love with Uli's playing would be, like... the understatement of forever! Needless to say, I embraced the opportunity with a passion. What followed, were many happy journeys to "Seaford" - (where Uli lived with Monika Dannemann at that time) - basically, to be taught (and to relearn my) guitar playing from scratch, and to learn the majority of Uli's/Electric Sun's/Scorpions' material. During the next couple of years, I played with Uli and Ule Ritgen - (of "Zeno" and "Fair Warning") – at many rehearsals and auditions (as Uli was looking for a new drummer!). We also traveled to, and spent time together in Germany, where we had a few rehearsals / jams with various people, and where I became friends with Uli's younger brother "Zeno" Roth. (Who is also an amazing guitar player!). This all took place between the years 1981 to 1983 (between the Electric Sun albums, "Firewind" and "Beyond The Astral Skies"). Within this period, Uli had his mind set on augmenting Electric Sun even further. Much further in fact...! When, in 1983 Uli (with new and powerful management) secured a record deal and a subsequent UK tour, Uli then had the finance and opportunity, to basically (yet again) augment the line up, with whatever he wanted. He actually went for, two keyboard players, two drummers, two female singers, and three male singers. Now this really did lead to "second guitar" becoming superfluous within this "ensemble". Consequently, it was at this point that Uli and I "working" together, came to its conclusion. There was absolutely no disappointment or problem about this... it was simply "common sense" coming into effect. (I'll also mention the fact that Uli has never since utilized or worked with any other "second guitar" player what-so ever!). We're still close, and we're still very good friends. (Oh yeah... he asked me to play an outdoor UK gig with him in 1997, but the gig was (in Uli's words) "cancelled on us"! (Never mind). Anyway, who knows what the future holds? All I'll say is, that I'm very proud to have been taught by, to have played with, and to share a great part of my life with, such an amazing guitar player, and such an amazing person! A true honour indeed. In the years that followed, I put together a "power-trio" which was very much a Jimi Hendrix/Frank Marino/Robin Trower type of band - (which let's say, has always been my true "calling") - we were called "End Tricks" (Which at one point included Nik again!). Towards the end of the 90's, Nik and I worked together yet again, alongside Mark Bloxsidge - (who was the Bass player from "Trilogy") - in a short lived band called "Sabotage". Rudi; Put together a couple of bands, such as "Sapphire" and "New Torpedoes" and went on to play with - ("Pre-Thunder") - "Terraplane" for a while. Pete; Played with Rudi in "Sapphire" for a bit, but eventually chose to opt out of playing within the world of heavy metal. (However, he does still play!).Nik; Assembled a very good Rush influenced/inspired "Prog-Rock" three piece band called "Trilogy". In the early to mid 90's, Nik also played for a while, with a guitar player called "Phil Hilbourne".
MMM: How do you look back at the early days of DRAGONFLY and what does it do to you, that the band finally got the credit it deserved some 30 odd years further down the line..
Stephen: The early days? Well, apart from the equally shared ambition and determination, what mostly springs to mind is lots and lots of fun and laughter. What does it do to me that we're now getting credit for it that we didn't all those years ago? Hmm, let me see... okay, it makes me feel either of the following; "Better late than never!" or "About bloody time!" - (I'm only joking of course) - It's quite flattering really, but at the same time it does seem a shame. I have to say, that had we not split up, (which I take responsibility for) maybe with a little more time, people would have picked up on the EP, and then... who knows?
MMM: Anything else you'd like to add?
Stephen: It's a shame that people never got to hear the best of us. Y' know, I do feel that we did have that "something"... that intangible, special "something" that makes all the difference... and that is - (I guess) what people actually refer to as that "X-Factor". (Perhaps it is easier to be "wise after the event"!). I remember reading an early edition of the reference book "The Encyclopaedia Of Hard Rock And Heavy Metal" and it actually stated, that we were "once hailed as the great British hope"... maybe we were, but if we'd been aware that people were thinking that about us at the time of our "being"... then again, who knows? I don't know if it will be of interest to anybody, but we do have a "live video" of ourselves shot at the Ruskin Arms, and which features our complete ‘set’. The sound quality is pretty good, so you never know... we could perhaps put it out as an audio CD in the future! (Likewise, a couple of the demos!).
Okay, so... thanks Paul, and thanks everyone, for your enthusiasm regarding ourselves and the NWOBHM genre, and for "keeping the faith"...
(God bless...!).
MMM: Which bands did DRAGONFLY emerge from, or was this the first experience in full band format for its members?
Stephen: Basically, this was the first (true) full band experience for all of us, and which began in early ‘79! (and ended in ‘81!)
MMM: It seems, the band didn't take too long to get to the vinyl stage; knowing this, the first set must have included more originals than covers or wasn't DRAGONFLY much of a live-act in its early stage?
Stephen: We have never played covers! From the word go, we knew exactly what we wanted to do! This was to eventually become serious contenders, standing alongside the bands that we grew up with and respected! (I'm talking Judas Priest - Scorpions - etc-etc here!) The idea of simply playing covers in pubs for example, never even occurred to us! We were that confident, and had that 'all or nothing' attitude and vision! The vinyl stage occurred, maybe half way within three years, 1979 - 1981. Much of a live-act in our early stages? Well, yes, we were pretty busy! Actually, our very first gig was with AngelWitch at the "Ruskin Arms".
MMM: Did you record any demos or rehearsals prior to the EP and have any promotional dubs / demos been shopped around to record labels, if so, which have been approached?
Stephen: For sure! We recorded our first demo (which included the songs "High-Talk” and "Loser") at the "Orange Recording Studio" London W1. We then recorded these other songs - (as demos) - "Mercy" - "No No No" - Reasons" - (and later on) - "Dragonfly" - (and an earlier / different version of) - "Silent Nights". As for approaching record labels, we mostly sent them to all the majors that you'd expect. We did have interest from A&M, and they wanted to know if we could also write something that could "cross-over" commercially. So, we intentionally recorded a more commercial pop/rock song called "Stop Your Fooling" (which was very "Thin Lizzy"). Very catchy, but certainly not "us" y' know...?
* So, was the DIY press of the EP a direct result of no labels showing any interest in the band?
Stephen: Not really, it was more a case of us not only trying to "get a foot in the door", but us trying to "get both feet in the door!" What I mean by that is, by having an EP out there, more people had the opportunity to hear us, thus creating a wider audience for us, and at the same time, the wider the audience, the greater the chances of record labels showing curiosity and interest.
MMM: Where was the EP recorded and how many recording tracks were used?
Stephen: I don't recall the name of the studio, but it wasn't more than a few minutes walk from the "Ruskin Arms" in Manor Park E12. The studio was beneath a Pet Shop of all things! Oh dear, (I'd guess that gave the Parrots something to talk about) I mean, we were L-O-U-D...! I can't remember how many tracks were used.
MMM: How many copies of the DRAGONFLY EP were pressed, and did they all come with the sleeve?
Stephen: Five Hundred. (I do know that a lot of them have been destroyed though!) Yes, they all came with sleeves.
MMM: Back in the days, the East Ham location was one of the epicenters of the NWOBHM, mushrooming bands, and with a vivid live-scene which included the famous Ruskin Arms pub. How did you encounter this, and was this of any advantage to you being located there?
Stephen: Well, the very fact that the Ruskin Arms was within the "location" you've mentioned, does I guess, lend itself to the area being an "epicenter" of NWOBHM. I mean, as well as ourselves, Iron Maiden came from the area, as indeed did Phil Collen. So yes, consequently, the live scene was quite"vivid"! We encountered this, simply because we all lived locally, and were therefore able to witness (whilst it seems, being part of) the NWOBHM scene that was developing around us. And yes, it was advantageous for us, because we had a very well established NWOBHM venue, practically on our doorstep.
MMM: Did the success of locals Iron Maiden trigger the formation of new NWOBHM bands from the East London area, and has their success been a blueprint for others trying to follow their footsteps in the genre?
Stephen: In a way, yes... there certainly did seem to be a lot of bands appearing around that time. What you are saying about Iron Maiden is interesting, because I think that in an almost unrealized way, a lot of bands perhaps felt that once they were playing the Ruskin Arms regularly, they were suddenly walking in the shadow of (Iron Maiden's) success, and that one thing could / would follow the other... Not so! I think that Iron Maiden's rise and success, was equally - (perhaps even more-so) - to do with their "Sound House Tapes" single being favoured and pushed by DJ Neil Kay. (Although there's absolutely no denying the Iron Maiden/Ruskin Arms, er… "legend"!). Yeah... I guess it is true to say that to an extent, there did appear to be a "blueprint for success" for other bands to (try to) follow there.
MMM: Gauging the EP, The DRAGONFLY sound was genuine NWOBHM, but, additionally featured light blends of Doom (intro/outro of "Silent Nights", plus the one-off, slug riffed sections in both "Spacebound" and "Mercy"), as well as it incorporated Fusion-esque hooks running underneath the solo in "Spacebound"; where did these come from inspirational-wise, and/or was this purely experimental?
Stephen: To analyze it to such an extent, is (for me) difficult really. I know this is quite a basic answer, but it really was just down to the natural flow of composition and content. I honestly can't say that (in my opinion) we were in any way experimental!
MMM: The DRAGONFLY EP holds quite a diverse palette of songs; was there any specific musical direction the band would opt for, or was the sound/repertoire simply this diverse...? besides, its songs are pretty in-depth, in comparison to the regular NWOBHM act...
Stephen: I would say that the musical direction that we were aiming for, was to be almost a "kaleidoscope" of the bands that we liked and were influenced by. Our influences at that time were very much Judas Priest, Scorpions, Van Halen. - ("Van Preistions" perhaps?) - In regards to the songs on the EP being diverse, I think this is because these influences hadn't come together, and "gelled" properly at that point... we really hadn't been together that long don't forget! Hmm... yes, I agree that the songs are in depth, compared to many of the regular NWOBHM bands.
MMM: Although the EP is now being favoured at large by NWOBHM aficionados worldwide, it surprisingly did not do the trick recognition wise, back in the days, quite remarkable isn't it?
Stephen: A reason for it not doing the trick recognition wise? Possibly because it wasn't too long after the recording of it, that we, er... split up! Y' know It's strange, but I certainly did sense a slight "indifference" to it from people at the time of us "releasing" it. I believe that within our ranks, Dragonfly had a great song writing ability and a great potential to go further in that area... perhaps more-so than the vast majority of other NWOBHM bands. As you say, the songs were quite "in depth" for its genre, and that may be one of the reasons that it does seem to be lasting the "test of time" so to speak.
MMM: What happened after the release of the E.P; was any further material being recorded? There's talk of such material with a change onto a more common musical interpretation... Has any of this been officially released?
Stephen: Maybe about 9 months after the E.P's release, we split up... so no, there was no further material recorded what-so-ever.
MMM: What happened after the band called it quits, did any of its members further their career in related or similar bands or completely different bands?
Stephen: Myself; Okay... what happened was this. In May 81, Uli Jon Roth - (who I've known and been friends with since 1978) - asked (after Dragonfly had ended) if I'd "be interested in playing second guitar" thus augmenting, and being a part of, his (then a three piece) band "Electric Sun"! Well, to say that I was in love with Uli's playing would be, like... the understatement of forever! Needless to say, I embraced the opportunity with a passion. What followed, were many happy journeys to "Seaford" - (where Uli lived with Monika Dannemann at that time) - basically, to be taught (and to relearn my) guitar playing from scratch, and to learn the majority of Uli's/Electric Sun's/Scorpions' material. During the next couple of years, I played with Uli and Ule Ritgen - (of "Zeno" and "Fair Warning") – at many rehearsals and auditions (as Uli was looking for a new drummer!). We also traveled to, and spent time together in Germany, where we had a few rehearsals / jams with various people, and where I became friends with Uli's younger brother "Zeno" Roth. (Who is also an amazing guitar player!). This all took place between the years 1981 to 1983 (between the Electric Sun albums, "Firewind" and "Beyond The Astral Skies"). Within this period, Uli had his mind set on augmenting Electric Sun even further. Much further in fact...! When, in 1983 Uli (with new and powerful management) secured a record deal and a subsequent UK tour, Uli then had the finance and opportunity, to basically (yet again) augment the line up, with whatever he wanted. He actually went for, two keyboard players, two drummers, two female singers, and three male singers. Now this really did lead to "second guitar" becoming superfluous within this "ensemble". Consequently, it was at this point that Uli and I "working" together, came to its conclusion. There was absolutely no disappointment or problem about this... it was simply "common sense" coming into effect. (I'll also mention the fact that Uli has never since utilized or worked with any other "second guitar" player what-so ever!). We're still close, and we're still very good friends. (Oh yeah... he asked me to play an outdoor UK gig with him in 1997, but the gig was (in Uli's words) "cancelled on us"! (Never mind). Anyway, who knows what the future holds? All I'll say is, that I'm very proud to have been taught by, to have played with, and to share a great part of my life with, such an amazing guitar player, and such an amazing person! A true honour indeed. In the years that followed, I put together a "power-trio" which was very much a Jimi Hendrix/Frank Marino/Robin Trower type of band - (which let's say, has always been my true "calling") - we were called "End Tricks" (Which at one point included Nik again!). Towards the end of the 90's, Nik and I worked together yet again, alongside Mark Bloxsidge - (who was the Bass player from "Trilogy") - in a short lived band called "Sabotage". Rudi; Put together a couple of bands, such as "Sapphire" and "New Torpedoes" and went on to play with - ("Pre-Thunder") - "Terraplane" for a while. Pete; Played with Rudi in "Sapphire" for a bit, but eventually chose to opt out of playing within the world of heavy metal. (However, he does still play!).Nik; Assembled a very good Rush influenced/inspired "Prog-Rock" three piece band called "Trilogy". In the early to mid 90's, Nik also played for a while, with a guitar player called "Phil Hilbourne".
MMM: How do you look back at the early days of DRAGONFLY and what does it do to you, that the band finally got the credit it deserved some 30 odd years further down the line..
Stephen: The early days? Well, apart from the equally shared ambition and determination, what mostly springs to mind is lots and lots of fun and laughter. What does it do to me that we're now getting credit for it that we didn't all those years ago? Hmm, let me see... okay, it makes me feel either of the following; "Better late than never!" or "About bloody time!" - (I'm only joking of course) - It's quite flattering really, but at the same time it does seem a shame. I have to say, that had we not split up, (which I take responsibility for) maybe with a little more time, people would have picked up on the EP, and then... who knows?
MMM: Anything else you'd like to add?
Stephen: It's a shame that people never got to hear the best of us. Y' know, I do feel that we did have that "something"... that intangible, special "something" that makes all the difference... and that is - (I guess) what people actually refer to as that "X-Factor". (Perhaps it is easier to be "wise after the event"!). I remember reading an early edition of the reference book "The Encyclopaedia Of Hard Rock And Heavy Metal" and it actually stated, that we were "once hailed as the great British hope"... maybe we were, but if we'd been aware that people were thinking that about us at the time of our "being"... then again, who knows? I don't know if it will be of interest to anybody, but we do have a "live video" of ourselves shot at the Ruskin Arms, and which features our complete ‘set’. The sound quality is pretty good, so you never know... we could perhaps put it out as an audio CD in the future! (Likewise, a couple of the demos!).
Okay, so... thanks Paul, and thanks everyone, for your enthusiasm regarding ourselves and the NWOBHM genre, and for "keeping the faith"...
(God bless...!).